Essay About Fahrenheit 911 Torrent

Fahrenheit 9/11

Current Status
In Season
116 minutes
Wide Release Date
Michael Moore
Michael Moore
Fellowship Adventure, Lions Gate Films
Michael Moore

In Fahrenheit 9/11, Michael Moore’s potent and infuriating fight-the-power documentary, the most memorable indictment comes early on. It’s the moment you’ve heard about, but probably never seen, of President George W. Bush sitting in a Florida grade school and reading the book ”My Pet Goat” for a full seven minutes after he’s been told that the second plane has hit the World Trade Center. The power of the footage transcends virtually any issue of left, right, or center. Bush wears a look of pale suppressed horror, yet an executive decision seems beyond him. He’s portrayed as a man who can and will not act, a President — a President! — who greets this most calamitous of events by waiting for others to tell him what to do. On the soundtrack, Moore guilt-trips Bush by speculating, mischievously, as to his thoughts. Moore’s voice is pitiless in its didactic sarcasm, yet he gets at something essential about the inner Dubya. Watching the footage, you don’t doubt that Bush’s anguish was genuine, yet you also can’t help but wonder if it reflected his ultimate slacker nightmare: that the job was now going to be exponentially harder than he’d bargained for.

At moments like that, ”Fahrenheit 9/11” offers a catharsis for the audience. Dazzlingly assembled, at once reckless and insightful, the movie filters the actions of the Bush administration through a nose-thumbing outrage that might have been irresponsible if Moore’s own words weren’t girded by images that spoke 1,000 more. Watching ”Fahrenheit 9/11,” you may find yourself rejecting one line of attack (like, say, Moore’s opening salvo about the Republicans stealing the election), chuckling at an irresistible cheap shot like clips of Bush on his ranch set to the Go-Go’s’ ”Vacation,” and responding to such richly evocative gambits as the movie following two Marine recruiters who seek out a working-class shopping mall to prowl for new enlistees. When the filmmaker hits the streets of Washington himself, wandering up to random congressmen to ask if they’d consider sending their own children to fight in the Iraq war, you’re reminded of how Michael Moore dramatizes, in a way no one else can touch, the distance and hypocrisy of power.

”Fahrenheit 9/11” sharpens the focus on power, and it reveals the cataclysm of Iraq — the blood and the turmoil, the hidden doubts of the soldiers — in a way that makes the official news coverage look like a dryly censored press release. At times, I felt moved and manipulated at the same moment, notably when Moore interviews Lila Lipscomb, a Flint woman whose son was killed in Iraq. Her tears and anger bring the war home, yet Moore won’t let go. He follows Lipscomb to Washington and films her in front of the White House, where she gets into a shouting match with a woman on the street. The mix of grief and showboating reduces Moore’s empathy to a thin parody of empathy.

Moore portrays the Bush era as a series of sinister forces run rampant, with a puppet firebreather in charge. Yet what, according to the movie, is the essence of the administration’s corruption? That it used 9/11 as an excuse to increase oil profits? To frighten all Americans into giving up their freedom? To keep the workingman down? As analysis, ”Fahrenheit 9/11” is mostly a smash-and-grab polemic. It’s less cogent or searching than Moore’s ”Bowling for Columbine,” which looked at one issue — gun violence — from every angle, until Moore had surprised himself with what he discovered. In ”Fahrenheit 9/11,” Moore makes the devastating point that the attempt to hunt down Osama bin Laden in Afghanistan wasn’t as all-out as it pretended to be. Many more troops could have been deployed. Yet the scandalous explanation for this strategic botch — that the administration was holding back for the war in Iraq, already in the planning stages — is never even mentioned in the movie. Where to locate that ultimate damning analysis? Why, in any one of the countless TV interviews given by Richard Clarke more than two months ago.

”Fahrenheit 9/11” creates as much heat as it does light. Moore, however, does pull together the last four years by filtering them through the prism of Bush’s personality. He gets you to connect the theatrical snigger that’s meant to look manly but, instead, telegraphs a cushy insularity; the overreliance on others to stake out decisions; and, finally, the application of the slacker mind-set to warfare by the substitution of an easy target (Iraq) for a hard one (al-Qaeda). Scalding and glib, derisive yet impassioned, ”Fahrenheit 9/11” is highly resonant Bush-bashing, since the President does most of the work for it. The film depicts the war on terror as run by a man who turns taking a stand into the ultimate form of role playing. B+

Michael Moore's "Fahrenheit 9/11" is less an expose of George W. Bush than a dramatization of what Moore sees as a failed and dangerous presidency. The charges in the film will not come as news to those who pay attention to politics, but Moore illustrates them with dramatic images and a relentless commentary track that essentially concludes Bush is incompetent, dishonest, failing in the war on terrorism, and has bad taste in friends.

Although Moore's narration ranges from outrage to sarcasm, the most devastating passage in the film speaks for itself. That's when Bush, who was reading My Pet Goat to a classroom of Florida children, is notified of the second attack on the World Trade Center, and yet lingers with the kids for almost seven minutes before finally leaving the room. His inexplicable paralysis wasn't underlined in news reports at the time, and only Moore thought to contact the teacher in that schoolroom -- who, as it turned out, had made her own video of the visit. The expression on Bush's face as he sits there is odd indeed.


Bush, here and elsewhere in the film, is characterized as a man who owes a lot to his friends, including those who helped bail him out of business ventures. Moore places particular emphasis on what he sees as a long-term friendship between the Bush family (including both presidents) and powerful Saudi Arabians. More than $1.4 billion in Saudi money has flowed into the coffers of Bush family enterprises, he says, and after 9/11 the White House helped expedite flights out of the country carrying, among others, members of the bin Laden family (which disowns its most famous member).

Moore examines the military records released by Bush to explain his disappearance from the Texas Air National Guard, and finds that the name of another pilot has been blacked out. This pilot, he learns, was Bush's close friend James R. Bath, who became Texas money manager for the billionaire bin Ladens. Another indication of the closeness of the Bushes and the Saudis: The law firm of James Baker, the secretary of State for Bush's father, was hired by the Saudis to defend them against a suit by a group of 9/11 victims and survivors, who charged that the Saudis had financed al-Qaida.

To Moore, this is more evidence that Bush has an unhealthy relationship with the Saudis, and that it may have influenced his decision to go to war against Iraq at least partially on their behalf. The war itself Moore considers unjustified (no WMDs, no Hussein-bin Laden link), and he talks with American soldiers, including amputees, who complain bitterly about Bush's proposed cuts of military salaries at the same time he was sending them into a war that they (at least, the ones Moore spoke to) hated.


Moore also shows American military personnel who are apparently enjoying the war; he has footage of soldiers who use torture techniques not in a prison but in the field, where they hood an Iraqi prisoner, call him "Ali Baba" and pose for videos while touching his genitals.

Moore brings a fresh impact to familiar material by the way he marshals his images. We are all familiar with the controversy over the 2000 election, which was settled by the U.S. Supreme Court. What I hadn't seen before was footage of the ratification of Bush's election by the U.S. Congress. An election can be debated at the request of one senator and one representative; 10 representatives rise to challenge it, but not a single senator. As Moore shows the challengers, one after another, we cannot help noting that they are eight black women, one Asian woman and one black man. They are all gaveled into silence by the chairman of the joint congressional session -- Vice President Al Gore. The urgency and futility of the scene reawakens old feelings for those who believe Bush is an illegitimate president.

"Fahrenheit 9/11" opens on a note not unlike Moore's earlier films, such as "Roger & Me" and "Bowling For Columbine." Moore, as narrator, brings humor and sarcasm to his comments, and occasionally appears onscreen in a gadfly role.

It's vintage Moore, for example, when he brings along a Marine who refused to return to Iraq; together, they confront congressmen, urging them to have their children enlist in the service. And he makes good use of candid footage, including an eerie video showing Bush practicing facial expressions before going live with his address to the nation about 9/11.

Apparently Bush and other members of his administration don't know what every TV reporter knows, that a satellite image can be live before they get the cue to start talking. That accounts for the quease-inducing footage of Deputy Defense Secretary Paul Wolfowitz wetting his pocket comb in his mouth before slicking back his hair. When that doesn't do it, he spits in his hand and wipes it down. If his mother is alive, I hope for his sake she doesn't see this film.

Such scenes are typical of vintage Moore, catching his subjects off guard. But his film grows steadily darker, and Moore largely disappears from it, as he focuses on people such as Lila Lipscomb, from Moore's hometown of Flint, Mich.; she reads a letter from her son, written days before he was killed in Iraq. It urges his family to work for Bush's defeat.


"Fahrenheit 9/11" is a compelling, persuasive film, at odds with the White House effort to present Bush as a strong leader. He comes across as a shallow, inarticulate man, simplistic in speech and inauthentic in manner. If the film is not quite as electrifying as Moore's "Bowling for Columbine," that may be because Moore has toned down his usual exuberance and was sobered by attacks on the factual accuracy of elements of "Columbine"; playing with larger stakes, he is more cautious here, and we get an op-ed piece, not a stand-up routine. But he remains one of the most valuable figures on the political landscape, a populist rabble-rouser, humorous and effective; the outrage and incredulity in his film are an exhilarating response to Bush's determined repetition of the same stubborn sound bites.

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