Michael Moore is the ‘capped crusader’, the left-wing American film-maker responsible for a string of powerful documentaries, from his first film, Michael and Me, to Fahrenheit 9/11 about the War on Terror, Bowling for Columbine about the Columbine High School massacre, Sicko, on the pitfalls of America’s private healthcare system and Capitalism: A Love Story, which is very definitely not a celebration of American private enterprise. His latest film, which was released a few weeks ago, is Fahrenheit 11/9 about the rise of Donald Trump. Mark Kermode and Simon Mayo are the film critics on BBC Radio 5. Here Kermode gives his view on Moore’s movie.
He begins by explaining that the title refers to the date on which Trump won the presidential and his opponent, Hillary Clinton, conceded defeat. It’s also a reference to his earlier film, Fahrenheit 9/11, and to Ray Bradbury’s SF classic, Fahrenheit 451, the temperature at which paper burns. Fahrenheit 9/11 became the highest grossing documentary film and won the Palme D’Or at Cannes. Kermode has his own reservations about Moore, in particular the grandstanding and stunts he plays in his movies. The film examines how the fruitcake, to use Kermode’s substitute term, we got to this point. Trump announced his intention to run for the Whitehouse because he was sick of Gwen Stefani earning more than him. Then his candidacy was taken seriously, and he got elected. In addition to talking about Trump himself, Moore also discusses his own peculiar relationship with Trump and his aides. He was given assistance with his earlier films by Bannon and Kushner, and met Trump himself on the Tonight Show. Trump said that he liked Michael and Me, but hoped Moore wouldn’t make a film about him. Moore actually went easy on him during that interview, because he’d been told to.
Moore also uses the film to criticize what he sees are the failings in the Democrats. They didn’t take Trump seriously. He talks specifically about the disgusting state of the water supply in Flint, Michigan, and how Obama, as he sees it, did nothing about it. This has led to the current crisis, where people are alienated from politics because they see everyone as part of the elite.
He does, however, see change coming from young people, who are refusing to put up with this. Kermode plays a clip from the film in which he talks to Michael Hepburn, a young Black Democratic candidate for Florida. Hepburn explains that the problem is the lack of will and backbone from the Democrats, and the fact that they’re taking money from the same sources as the Republicans. He states that the Democratic party should be recruiting extraordinary ordinary Americans, who get on the same bus as their constituents. Who have kids in the same public schools, and so know what it’s like when the teachers don’t get paid a real salary or lack resources.
A young woman explains that the definition of electoral insanity is electing the same guys over and over again and expecting things to be any different.
This is followed by a clip of a news programme explaining that for the first time, the Democrats in Michigan will have an all-female ticket. He talks to Rashida Talib, who is poised to become the first Muslim woman in Congress. She says ‘We are not ready to give up on the party, just ready to take it over and put some people in there that get it.’
‘Take it over?’ Moore asks.
‘Take it over, Michael. Take it over,’ she replies.
Kermode also says that the strongest voices are those of schoolchildren, including one piece where they talk about the revolution that is going on through social media. He finds it refreshing that someone is talking about social media in a positive way. He still finds Moore a problematic figure, and that the film doesn’t really ‘wrestle the problem to the ground’. However, it does offer a glimmer of hope through young people. This is what happens when people feel disenfranchised, and a younger generation who are fed up with not being represented. He goes on to say that there is a certain repetition of themes, because they’re close to Moore’s heart. He also says that he feels that Moore is sincere about this film. He says it’s impossible to say what impact the film will have. It’s nothing like the scale of Fahrenheit 9/11. He also believes the best film about Trump was You’ve Been Trumped, made long before the Orange Buffoon came to power and which was about him and the golf courses in Scotland. But it’s a sincere work, with less of the ‘stunty stuff’ which Kermode doesn’t like.
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