The New York Times > Arts > Frank Rich: Michael Moore's Candid Camera
"Speaking of America's volunteer army, Mr. Moore concludes: 'They serve so that we don't have to. They offer to give up their lives so that we can be free. It is, remarkably, their gift to us. And all they ask for in return is that we never send them into harm's way unless it is absolutely necessary. Will they ever trust us again?'"
True, Michael Moore is polemicist. True, he is often a big blabbermouthed slob who offers an easy target to people like Ann Coulter. But only big blabbermouthed slobs with gobs of talent and an empassioned drive to seek truth can win the Palme d'Or. So congratulations, Mikey. Here's hoping I can catch Fahrenheit 9/11 at the local AMC 21 soon . . . or at the very least, at the Boulder Theatre.
Before, Moore was just pissed. It doesn't take more than a viewing of the Dick Clark scene from Bowling for Columbine to see that. But now, he's angry and sad and frustrated and frightened and embarrassed like so many of the rest of us. Fahrenheit 9/11 is not an exploration of issues in our American culture, nor of a collection of cultural contradictions leading to violence and fear, not like Bowling for Columbine . . . the film exposes the truth that a madman is at the helm of the most militarized nation in the world.
My concerns, however, lie with the fact that the movie will never be seen by the people who need to see it the most. Moore's name is like kryptonite to moderates and conservatives alike. Moore's main problem is that since Roger and Me, he's been preaching . . . or rather, yelling, Sam-Kennison-style, to the choir.