Michael Moore reveals himself as person disgruntled with life. "They're all out to get me because they're all wrong!" tends to be his primary theme. The first portion of the movie deals with the Florida recount of the 2000 presidential elections. Moore presents us with a Donnie Darko-type fog, "were the last four years only a dream?"
All of the footage is intended to race-bait the question. George W. Bush, in collusion with Katherine Harris, Jeb Bush and a relative at FOX News all worked together to steal the election from blacks in Florida. Then he strings together the denouncements by members of the Congressional Black Caucus saying they were “disenfranchised.” (Someone, please tell me what this means!)
This is the most important part of the sequence: Michael Moore cuts to a partisan pundit that says: in every possible scenario of the recount, Al Gore won Florida. Even though this charge has no evidence and every review shows Bush won by at least 500 votes, Michael Moore, in his arrogance, tries to intimate that if only Al Gore reached out to him (he voted and campaigned for Nader), Al Gore would have won (from Stupid White Men).
But to reveal this would take away from the intention of the first segment: Bush hates niggers and stole their election. This race-baiting is not new to Michael Moore. Bowling for Columbine (BFC), as David T. Hardy and Jason Clarke point out in their new book Michael Moore Is a Big Fat Stupid White Man, Michael Moore will intimate racism when there is none.
In BFC, Moore intimates that Charleton Heston is a racist. He does so by flashing a picture of a young black girl shot dead by another black man and suggesting it’s Heston’s support of the NRA that caused it. Not mentioning the fact that Charleton Heston has Alzheimers—as well as omitting that Heston went against the grain in support of civil rights in the 50’s—Moore just says: racist.
The first 30 minutes of Fahrenheit 9/11 uses the exact same techniques. He show’s black outrage (with NO EVIDENCE) over voter “disenfranchisement” (tell me what this means!) and make Bush look like a person who stole the election from black voters. This theme continues throughout the movie.
When Michael Moore interviews soldiers in Iraq, he is careful to only interview black soldiers when he wants to identify the great sacrifice people in the military make. However, more true to Michael Moore’s motives, he interviews white soldiers and paints them as baby killers. This is most true when he interviews tank gunners and asks them what music they listen to when they are out fighting a war.
One white GI admits to listening to Rob Zombie’s, Let the Bodies Hit the Floor. Does Michael Moore show the hundreds of thousands of Iraqi soldiers shooting at the tanks and the soldiers killing them? No, he pretends that the soldiers are listening to this song and showing the dead bodies of Iraqi women and children.
He doesn’t stop the race-baiting there. He then goes to his “hometown of Flint, MI,” and talks with black youth there DESTROYED by Bush’s economy. Anyone who’s seen any Michael Moore movie knows he lauds his “humble upbringing in Flynt, MI” to demonstrate his connection with the downtrodden in American society. But since the film Roger & Me, Moore has always shown Flynt as similar to a bombed out ghetto.
How is Bush’s “economy” responsible for this? If, like his first movie suggests, that 30% of everyone in Flint has been unemployed since 1986—what relevance does the downturn in 2000 have on the fact that these people have been living in poverty for almost two decades? Moore, true to form, does not remind us that the poor people in Flint--who have been so since the mid-eighties--are poor because of whoever he’s attacking at the time. When it was Roger & Me, it was GM and Ronald Reagan at fault; when it was Bowling for Columbine, it was Bill Clinton's welfare reform at fault; and in F9/11, it's Bush's tax cut at fault.
Please, will Michael Moore show a statement showing money he's given to the black community in Flint, MI? Or anywhere in the US for that matter?
(stay tuned for parts III - V)