FAHRENHEIT 911 Essay -- essays research papers

The title of "Fahrenheit 9/11" is a play on the title of the famous Ray Bradbury novel, "Fahrenheit 451" in which society has been transformed into an authoritarian, repressive regime, in which subversive ideas are crimes and books are burned. In the book, a lonely protagonist is awakened to this reality and joins the struggle to keep underground dissidence alive. In Michael Moore's movie, he leads an above-ground assault on the Bush Presidency, questioning his legitimacy, his character, abilities and, most of all, his attempt to fight terror through the war in Iraq. And similarly, his method of attack is by trying to bring to light the facts that those in power have tried to suppress. Just like every Moore movie, it shows people looking stupid to humorous effect and it shows the heroic tales of common people who have suffered tragedy. And Moore blames their plight on the rich and powerful. In his other movies, the presidents of General Motors and the National Rifle Association, for instance, bear the brunt of his blame. In this movie, it's George W. In its best moments, the movie is a strong, anti-war documentary. It has truly moving moments of bereaved loved ones, mangled bodies in the streets, incredulous soldiers in Iraq, angry Iraqis and innocent teenagers being manipulated into enlisting. In this way, the movie presents a version of the war on Iraq that isn't shown much in the media. It improves our understanding of the war by giving it a human face. Asking members of Congress to enlist their children in the war was a good idea, as it emphasized an important point of his: that it's the poor and uneducated that fight the wars that politicians vote for. But it was probably one of those things that should have remained just a neat idea - the actual confrontations are just embarrassing for Moore, the politicians and the audience. Perhaps it's an embarrasing reality we all ought to face, but maybe it's just tasteless. Either way, the point remains forceful: the heroism of all these disadvantaged young people should only be used as a last resort. But Moore's movie isn't just an anti-war movie. Part of the movie is an attempt to question and expose the political images being projected. This starts off with a dreamy sequence of Al Gore celebrating victory in Florida that, Moore says, was manipulated by Fox television into a Bush vict... ... understandable to a wide audience, inviting citizens from all walks of life and levels of education to be engaged. But his arguments are, without a doubt, simplifications and he doesn't even bring up arguments that challenge his own, let alone take them seriously. Moore insists that all his facts are correct and even hired an old fact checker for the New Yorker to make sure. But this, of course, doesn't come to grips with the fact that much of the Bush statements he objects to are also, strictly speaking, factually correct. The truth about facts is not self evident, as he knows; the significance of facts can be manipulated by those with just a camera just as easily as by those in power. In an era of mass-media politics-a far cry from the original political debates in Athens-"Fahrenheit 9/11" is an uneasy compromise between populism and propaganda. The things it has to say are relevant and important and should be heard - but hopefully, they are just part of a larger, more even-handed discussion. Perhaps, the success of this movie is a recognition of the fact that the way this discussion gets carried out in the modern age is by turning it into a form of entertainment.