A few horror titles that Hollywood
might consider a nightmare would be "Night of the Living
Dead," "The Chainsaw Massacre," and
"I died of boredom from watching Fahrenheit 9/11."
I honestly tried to see the film
as a documentary on how a Texas family created 9/11, but the film's
disclaimer at the beginning that the production was only for the
purpose of entertainment told the true story, along with a bit
of wishful thinking from its director.
And why a legitimate producer,
Lions Gate Films, would want its name and reputation tied to this
agenda-driven film filled with lies and tall tales is beyond understanding.
Moore's proven misrepresentation
that the president helped the Bin Laden family leave the country
on 9/11 was more disturbing than the film, a film director trying
to take down a president with the propaganda techniques that gave
us the cleansing politics of Germany of the 1930s - 40s.
Moore's unattractive blowups of
film footage of the Bush administration, as they are being made
up for television interviews, were so obvious that Moore's personal
anger must have driven the film instead of well thought-out production
values. Using this same technique, one could also have taken stock
film footage of Senator John Kerry, (some ridiculous
still photos can be seen on this page), and easily make
him look like he didn't know what he was talking about.
It's also easy to get laughs from
an audience that seems to think Moore is an Oxford scholar born
of middle-America poverty, Moore usually seen dressed in real
life as if ready to hitchhike down a dusty rural lane outside
Flint, Michigan, yet in reality is a multimillionaire.
And for those who watched the
film and didn't know it, Flint had serious poverty problems back
in the 1980s because of massive automobile plant shut downs, Japanese
auto manufacturers creating cars that were preferred by American
car buyers. It was poor marketing and corporate arrogance that
took these jobs away over twenty years old, George Bush far, far
away from being in the White House then.
I should have been suspicious
when the Hollywood and French elitist proclaimed this film as
one of the best documentaries ever made. The island of Hollywood
is already known for its standing by the anti-conservative agendas
of GLAAD, NOW, NAMBLA, ASNE, along with the organization supported
by wealthy secular intellectuals, the ACLU*.
And now we also know, from the
Senate testimony of Chief Weapons Inspector Charles Duelfer, that
high officials in the French Government were paid by Saddam to
not only help him secure weapons of war around the the UN's sanctions,
but to provide him money under the table through its now laughable
Oil for Food Program.
The UN has proved again that its
mission statement is not to be judged by what it does, but to
be judged on what it looks like its doing. The Oil for Food
program was never used to feed the poverty-ridden women and children
of Iraq as intended, but instead to line-the-pockets of Saddam
with money so in-turn he could give millions upon millions of
dollars back to the highest bidders that would vote against the
U.S. taking out his corrupt administration.
The UN stalled for twelve years
and seems to have wanted twelve more, and why the United States
would have never-ever gotten the backing of the UN to take down
Saddam. So Fahrenheit
9/11 being cheered by the French as a slam-dunk in that
corrupted environment is to be expected.
Someone, after watching the film
with me, said that Michael Moore hasn't changed since his first
film, "Roger and Me," for some reason not growing
professionally within his chosen career of film making . . . still
looking like the same one-trick pony with a penny in each pocket.
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