Exposing Michael Moore
By Irwin N. Graulich (09/17/04)
He looks like, what my mother called, "a big slob." His trademark is unkempt Hollywood scrunge. However, there is actually a very dangerous man under that baseball cap. Michael Moore, civil hypochondriac extraordinaire, hates America and the values we have created. No wonder the French crowned him King of Cannes.
Filmmaker Moore is simply a spoiled little (sic) brat, whose troubled childhood has manifested itself into a rather disturbed adult, always blaming his unhappiness on George Bush, Ronald Reagan and any conservative Republican in sight. The angry kid has aged, but never actually matured.
Moore would make Joseph Goebbels proud. Instead of portraying Jews as rats utilizing a contrasting imagery technique, Mr. Moore combines visuals of the President playing golf along with terrorist and war footage.
Had Moore been given White House access, in all likelihood he would have shown Dubya having the audacity to sing in the shower or relieve himself, while innocent civilians were dying in Afghanistan and Iraq. How dare this arrogant President relax, while he sends our boys into harms way.
Calling "Fahrenheit 9/11 a documentary is akin to labeling "The Protocols of the Elders of Zion" a nonfiction classic. This film is no more than a political snuff movie and voyeurism is the only reason for its success. Truth is a quality that Michael Moore and his ilk have a great deal of trouble comprehending. Mother Moore should have looked into a Teenage Wilderness Program long ago.
Moore has continuously pointed out that it is only "poor" people who serve and die in the military. Although that is probably true to a point, his conclusion is totally meaningless. He keeps drawing on only the left side of his brain, blaming the rich for using the poor. The military happens to be an excellent vehicle for beginning a new life out of poverty, just like the fire department or police.
These opportunities generally attract lower income backgrounds. Wealthy people do not go into boxing. There are very few Harvard educated, millionaire firefighters. Yet leftist Moore would cast blame on the Ivy League. No matter who is elected president, these things will never change.
The origin of this film "lies" in the fact that Hollywood people are overwhelmingly uncomfortable, often embarrassed, by their own undeserved financial success. This guilt translates into compassion for any disadvantaged person, even a bad one. And they must show contempt for the successful individual, unless of course they are Hollywood directors.
Reading other people's words and changing your entire being in a make believe world, suppresses your own personality from developing adequately. This can cause a rather serious mental disorder called " overly compassionate liberalism," where the distinctions between right and wrong become blurred.
Somehow the motion picture industry, with an astute image building ability, has been able to portray actors, producers and directors as intelligent world policymakers, when the reality is there is no greater percentage of wisdom among Hollywood's elite than with sewage disposal workers. Yet, the big screen has a magical power and we actually listen to the likes of Moore, Baldwin, Striesand and Penn. Why?
Michael Moore takes pride in featuring a crying woman, who lost two sons in Iraq. There is not a war in history where one could not show exactly the same image of a distraught mother grieving over her child's loss. Moore has used and abused her pain for his own anti-American agenda, another low in film noire. Innocent human beings are mere fodder for his propaganda.
During World War II there were over 400,000 mothers who cried and wailed, but what was the realistic alternative? According to Moore's thinking, war is an immoral act, especially if a Republican president declares it. To film a mother crying in pain over her loss, is the ultimate in Goebbels workmanship. Moore likes to blame Bush and gun manufacturers, not the individuals responsible like Saddam and those crazy Columbine students.
And then there is the "vast right wing" Saudi connection to George W. Nowhere does Moore mention the same cozy relationship with every single president since Roosevelt. Unfortunately, we are oil addicted and the stuff grows largest in Saudi Arabia. That happens to be a global reality.
This disheveled filmmaker uses his camera to imply concepts, that when taken to their logical conclusions by the viewer, are simply big lies. It is similar to focusing on a photo of a man holding a gun, while standing over a dead body. However, context is necessary to explain that the individual is a plainclothes detective, who had picked up the gun to place it into an evidence bag.
To further his anti-Bush agenda, Moore proves that President Bush Sr. still gets CIA briefings, while being a member of the Carlyle Group Executive Board, the Washington-based Saudi connected lobbying firm. The obvious implication being that the ex-president is turning over top secret information to the Royal family.
Of course Moore the Marxist criticizes our education policy because he thinks it is always "Moore" money that will solve the problem that one in ten babies are born into poverty. Rather, it is "Moore often" the liberal left's bizarre philosophy that does not promote marriage as an ideal, which leads to so many of these impoverished souls ultimately winding up in prison.
This "Michiganer (yiddish word)" director has said on numerous occasions that "America has produced 40 million people who are functionally illiterate." Yet it is Moore, along with the like-minded teachers unions and NEA who do not allow school vouchers, stopping poor children from attending good schools.
There is no question that Moore's work will be studied after his demise alongside Joseph Goebbels, al Jazeera and Pravda. There is even a rumor that Moore is presently contemplating a new film, "Fahrenheit: Shalom," that will prove beyond the shadow of a doubt, that 9/11 was planned and executed by the Mossad and CIA. The Cannes people are already considering a Lifetime Achievement honor.
Oh, and by the way, who is that disgusting bimbo on Moore's arm at all the Hollywood ceremonies. I thought "big" directors get the pretty girls. He must be trying to fool us with the old bait and switch technique once again.
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