Описание: Жесткая, бескомпромиссная критика политики президента США Джорджа Буша-младшего. В центре фильма — трагические события 11 сентября 2001 года, а главный контекст и подтекст — причастность администрации Буша к самим терактам и загадочные отношения президента с мировым террористом №1 Усамой Бен Ладеном...
Рецензии: propaganda that's on the side of good, or at least reason. While a good deal of the footage in the film has already been on television, some of it (like the ironic footage of Al Gore telling congressmen that they couldn't make cause for debate due to no senators signing for the right to debate the election decision of 2000, and of course the casualties of the war in Iraq) has not been seen by too many Americans. What I find in Fahrenheit 9/11 - a funny, disturbing, and involving op-ed film piece from Moore - is that it turns out to achieve a superb level of craftsmanship. I haven't been affected by a film that dealt with such a level of hot (yet appropriate), questionable debate since Stone's JFK. I feel the same reaction coming from the audience, both as I was walking out of the theater and on this site on the message board - they love it or hate it. But what I find so fascinating, when looking at both films, is that you could (or rather can might be a more plausible word) find a few errors in some of the facts, yet there is so much information, so many details about what could be counted as truth or what could be counted as outright bullsh*t that you can't say it's entirely one or the other. And unlike JFK, 'Fahrenheit' uses its dramatic edge without hiring a cast of Hollywood types.
The film begins a little like how Moore's book began, Stupid White Men (only that was far more detailed and less in sarcasm): "Was it all a dream?" Moore asks, as the first image is of the camera panning down on a crowd celebrating Gore's victory in Florida. No less than a few minutes later, Moore cuts to Bush on the inaugural day of becoming president, with rain coming down, and hundreds of protesters railing against the cars. Then the story begins to unfold- Bush, after sitting dumbfounded, eyes wandering in a classroom for seven or so minutes after the 9/11 attacks, goes to work to sign the patriot act (which was practically un-read by congress, yet takes away freedoms as random from Americans), puts 11,000 troops ("there are more cops in Manhattan", comments an interviewee) in Afghanistan, and slowly but surely unfolds and executes the invasion of Iraq. While Moore concentrates the first part of the film on Bush 1 and Bush 2's ties to the Saudi Arabian government (as well, in due, to the Bid-Laden family and their business investments), the second part goes more towards the soldiers in Iraq.
Like Roger and Me and Bowling for Columbine, the idea(s) that drive what Moore's putting together are commendable, which the topics are controversial, thought provoking, and depressing. It's not a pretty picture he's painting in the slightest, and when he brings his hometown of Flint, Michigan into the mix (this time revealing how Marine recruiters work, young people who have family in the army and in the war, and one mother who loves her country and has kids in the army and overseas), political allegiances aside, one understands what small, low-income cities and towns go through in times like these. One could argue 'Fahrenheit' isn't a documentary in the traditional sense. However, as a document of what a country goes through, in terms of the effect of 9/11, and what the war has done to the people fighting in Iraq and the people at home, it's powerful even when it could come to some as on a slant.
And what I loved the most is that, throughout the film, the images and editing styles kept me with eyes glued, and overall the effect of the film can be quite entertaining. There are moments when Moore inserts something that's laugh-out-loud, even as it's not technically meant to be so, and then even more so when it is. On top of that, the music selections are perfectly manipulative, sad, and playful. Like with 'Columbine', the film doesn't come without it's share of memorable moments, such as when John Ashcroft sings "When Eagles Soar", or the montage of countries that decided to come to our aid in the Iraq conflict, or when he flashes to the Oregon coast and finds it is a 180 when compared to the fear and pumped-up 'security' by the police forces and FBI. By the end of the film, I knew it is geared for a purpose. But it's not the kind of purpose that some would have you believe, like it's a 21st century answer to Triumph of the Will or something ridiculous like that. It is what it is; a filmmaker's own take on the current state of affairs via the president of the free world. Take it or leave it. A+