Political Sicko Back in the Limelight
Mark Morgan
Undergraduate/
If you’ve watched any amount of television within the past few days, you’ve undoubtedly seen advertisements for Michael Moore’s latest attempt at documentary titled Capitalism: A Love Story. Although few details have leaked about the filmmaker’s latest venture outside the bounds of reality, it seems as though the movie will be a critique of the American capitalist system. In light of this film’s destiny as a box office flop, it seems pertinent to take a look at Mr. Moore’s film tendencies, and their effects on the political spectrum.
Although Moore’s iconic nature has certainly faded since Fahrenheit 9/11, his potentially destructive nature is still very present. Moore advertises his films as documentaries, and they are filmed in a style that gives the viewer a similar impression. Reality, however, would beg to differ. Moore has a long tendency of introducing blatant lies into his films, without any moral quandry about presenting them as fact. From shamelessly typesetting and rewriting headlines and presenting them as originals in Fahrenheit 9/11, to claiming the National Rifle Association has direct ties to the KKK in Bowling for Columbine, going as far as to graphically depict an NRA member burning a cross with a hooded KKK member.
Not only are Moore’s films often entirely inaccurate, they are dangerous to the political process. Besides blatantly passing off lies as facts, Moore’s lies serve to demonize and alienate an entire section of society. From gun owners in Bowling for Columbine, supporters of the wars in Iraq and Afghanistan in Fahrenheit 9/11, health care professionals in Sicko, and now private businessmen, bankers, and those in the finance sector in Captialism, Moore consistently manages to paint each and every group as instrinsically evil, and dangerous to society. Such demonization serves only to drive a wedge further between an already highly polarized political population.
Disagreement is healthy, and in fact is what drives the creativity and balance that has made this country as great as it is. But Moore’s particular brand of dissent breeds only hatred and discontent, merely entrenching people further within their preexisting mindsets. Moderation has defined American political progress, and will only continue to do so if Americans start rejecting the fear-mongers both in politics and in popular culture, on either side of the aisle. Regardless of your opinions or political persuasions, it’s necessary to view Mr. Moore’s film through the lens of reality, a reality that Moore has clearly chosen to ignore.
One slight aside, despite Moore’s fervent hatred of capitalism, especially as outlined in his new film, he still has invested in an extremely expensive advertising campaign, using private advertising firms and private broadcasting networks, and will air the film in private theaters that will charge a substantial price to view the film, from which Michael Moore will make a profit…If only the rest of us could earn a living by biting the hand that feeds us.