"Fahrenheit 9/11," winner of the Palme d'Or at the Cannes Film Festival, has earned significant critical acclaim and, to top it off, equal public interest since its debut. Like him or hate him, Michael Moore has a giant stick embedded in the American consciousness, and he is stirring.
So many things have been said about "Fahrenheit" that it has become its own public figure. Akin to charisma, the film's entertainment value has been tested and it proved with its victory in Cannes that the naysayers could not ignore it. Like any public figure, the movie's credibility has been questioned and the public seems to view "Fahrenheit" as they viewed Bill Clinton, unperturbed by allegations and perhaps a little forgetful. Michael Moore has come a long way from last year's Oscars and his documentary seems like a two hour version of his ill-timed outburst, born over refinement.
Moore the movie-maker has lost none of his zeal to provide what educates and entertains and, more importantly, induces audiences to shape their own perceptions. It is a strange irony that this trick of entertaining indictments the right-wing stole from the left in the machinations of Bill O'Reilly and friends has been single-handedly reclaimed by Michael Moore.
There is so much to be dissected in "Fahrenheit," both from a theory of documentary and also a historical perspective. "Fahrenheit" excels because, like any good political stand-up comic, it entertains over all, and the education is a nice bonus.
