Capitalism—a Propaganda Story
Michael Moore is the Leni Riefenstahl of our time. Or, perhaps he would be better characterized as a Bizzaro World Leni Riefenstahl, because while she propped up with propaganda the political powers of her time, Moore uses the same techniques to bring down the powers of our time, be it GM (Roger and Me), the gun lobby (Bowling for Columbine), the government (Fahrenheit 911), the health care industry (Sicko), or free enterprise (Capitalism: A Love Story).
In this latest installment in his continuing series of what’s wrong with America, Michael Moore takes aim at his biggest target to date, and the result is a disaster. The documentary is not nearly as funny as his previous films, the music selections seem contrived and flat, and the edits and transitions are clumsy, wooden, and not nearly as effective as what we’ve come to expect from the premiere documentarian (Ken Burns notwithstanding) of our time. And, most importantly, the film’s central thesis is so bad that it’s not even wrong.
First, let me confess that even though I have disagreed with most of Michael Moore’s politics and economics throughout his career, I have thoroughly enjoyed his films as skilled and effective works of art and propaganda, never failing to laugh — or be emotionally distraught — at all the places audiences are cued to do so. My willing suspension of disbelief that enables me to take so much pleasure from works of fiction, does not always serve me well when pulled into the narrative arc of a documentary. Thus it is that with his past films I have exited the theater infuriated at the same things Moore is … until I rolled up my sleeves and did some fact checking of my own, at which point Moore’s theses unravel (with the possible exception of Bowling for Columbine, his finest work in my opinion). But with Capitalism: A Love Story, Moore’s propagandistic props are so transparent and contrived that I never was able to suspend disbelief.
What was especially infuriating about Capitalism:
In this latest installment in his continuing series of what’s wrong with America, Michael Moore takes aim at his biggest target to date, and the result is a disaster. The documentary is not nearly as funny as his previous films, the music selections seem contrived and flat, and the edits and transitions are clumsy, wooden, and not nearly as effective as what we’ve come to expect from the premiere documentarian (Ken Burns notwithstanding) of our time. And, most importantly, the film’s central thesis is so bad that it’s not even wrong.
First, let me confess that even though I have disagreed with most of Michael Moore’s politics and economics throughout his career, I have thoroughly enjoyed his films as skilled and effective works of art and propaganda, never failing to laugh — or be emotionally distraught — at all the places audiences are cued to do so. My willing suspension of disbelief that enables me to take so much pleasure from works of fiction, does not always serve me well when pulled into the narrative arc of a documentary. Thus it is that with his past films I have exited the theater infuriated at the same things Moore is … until I rolled up my sleeves and did some fact checking of my own, at which point Moore’s theses unravel (with the possible exception of Bowling for Columbine, his finest work in my opinion). But with Capitalism: A Love Story, Moore’s propagandistic props are so transparent and contrived that I never was able to suspend disbelief.
What was especially infuriating about Capitalism: