Where Do We Go From Here: A "Capitalism: A Love Story" Review
Where Do We Go From Here
Capitalism was good for the people of the United States, at least for a few years. The Golden Age of Capitalism, or the economic prosperity following the World War II in 1945, was good as long as it put more than food on the table and allowed many to live the elite life. America, indeed, paid a good deal for its love of Capitalism. But that was then, and just like any other love affair, the good relationship between America and Capitalism had to reach a conclusion. Unfortunately, not all endings are happy endings, and every ending has an epilogue. Michael Moore’s Capitalism: A Love Story depicts in a witty and easily-relatable way, the advantages and growth of capitalism in America, as well as its extensive consequences on the lives of its citizens. It shows the issue on the rich becoming richer and the poor becoming poorer. His muddled tactic in illustrating the issues almost reflects the complexity of the subject. Although it’s almost cheap, he used it as his key element for accessibility and persuasion. He, nevertheless, managed to get his point across entertainingly. The only thing missing is the call for action.
The film started off with a series of security camera footages of bank robberies. One of the robbers was on a crutch. This may be a symbolism of what the viewers can expect from the film: that it is about the rich, although incapable (in a crutch) of hard work, can amount large sums of money by taking advantage (robbing) of those who do work to get paid. The film then showed how the present United States is very similar to Rome during its falling state. The similarity, thereafter, was established by videos of families being dismissed from their own homes, and the depiction of the real estate broker, “Condo Vultures”, which, as may be implied by the name itself, earns through preying on foreclosures. Moore began by introducing his characters: the hard working yet oppressed citizens, and the private owners who take
Capitalism was good for the people of the United States, at least for a few years. The Golden Age of Capitalism, or the economic prosperity following the World War II in 1945, was good as long as it put more than food on the table and allowed many to live the elite life. America, indeed, paid a good deal for its love of Capitalism. But that was then, and just like any other love affair, the good relationship between America and Capitalism had to reach a conclusion. Unfortunately, not all endings are happy endings, and every ending has an epilogue. Michael Moore’s Capitalism: A Love Story depicts in a witty and easily-relatable way, the advantages and growth of capitalism in America, as well as its extensive consequences on the lives of its citizens. It shows the issue on the rich becoming richer and the poor becoming poorer. His muddled tactic in illustrating the issues almost reflects the complexity of the subject. Although it’s almost cheap, he used it as his key element for accessibility and persuasion. He, nevertheless, managed to get his point across entertainingly. The only thing missing is the call for action.
The film started off with a series of security camera footages of bank robberies. One of the robbers was on a crutch. This may be a symbolism of what the viewers can expect from the film: that it is about the rich, although incapable (in a crutch) of hard work, can amount large sums of money by taking advantage (robbing) of those who do work to get paid. The film then showed how the present United States is very similar to Rome during its falling state. The similarity, thereafter, was established by videos of families being dismissed from their own homes, and the depiction of the real estate broker, “Condo Vultures”, which, as may be implied by the name itself, earns through preying on foreclosures. Moore began by introducing his characters: the hard working yet oppressed citizens, and the private owners who take