Michael Moore’s Fahrenheit 11/9 opens with the word “Hillary.” It ends in silence. The in-between includes Hitler and Rashida Tlaib, Michigan Governor Rick Snyder and West Virginia high school teachers, Bernie Sanders and The New York Times.
It’s a surprise to report that a lot of the film, which had its world premiere at the Toronto International Film Festival last night, catches you by surprise—not only because of the deja vu didacticism of so many contemporary political docs, but also because, by now, we think we know Moore’s shtick. Even Trump seemed to have an inkling as to what he would look like under Moore’s microscope: Back in 1998, on The Roseanne Show, Trump allegedly praised Moore’s work before expressing his hope that Moore never make one on him.
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Indeed, Moore’s best zingers and most penetrating indictments land on the Democratic Party, whom he implicates (along with dominant liberal news media) as part of an establishment system continually churning in place to maintain the status quo and impede forward movement. He even calls out Obama on a few occasions: for letting down the people of Flint, for accepting Goldman Sachs money, for deporting immigrants, for drone strikes. But best of all, Moore acknowledges and emphasizes that he himself is not totally free from that establishment either. “The best thing my generation did was raise you all,” he marvels to a Parkland teen in one scene. Her sharp reply: “On the contrary: social media raised us.”
https://www.thedailybeast.com/fahrenheit-119-michael-moore-exposes-trump-the-new-york-times-and-establishment-democrats?ref=home
