In review

“How. The f**k. Did we get here. And how. The f**k. Do we get out?” Michael Moore’s movie gets chuckles, snickers and chills after hearing the award-winning Documentarian pose those 2 questions in a soft, slow, deliberate voice from the start. He’s talking about Donald Trump’s Presidency. There’s plenty of this but without as much footage of Donald Trump as we expected. Moore covers many other issues here, too!

The film’s title, Fahrenheit 11/9, refers back to Moore’s 2004 Fahrenheit 9/11 documentary exploring the causes of the Iraq War and the World Trade Center attack. The swap in the date takes us to the day in 2016 that Trump was elected. Moore’s believes these two days are historically tragic.

He places blame for Trump’s political ascendancy at the feet of singer Gwen Stefani of all people! Moore posits that when Trump learned NBC was paying her more to be a judge on “The Voice” than he received for “The Apprentice,” he staged his Trump Tower escalator ride to announce his candidacy. He wanted to show the network what a REAL celebrity looked like, complete with paid shills to cheer him on. Actually running and winning was never part of the plan.

Moore targets The Electoral College as one puzzle piece that continues to deny Americans true democracy. He shows that this vestige of Slave Era compromise has turned the White House over to the popular vote loser time and time again.

Moore chooses to take a scatter-shot approach bouncing to a variety of issues. First up? The Flint lead-in-the-water crisis. Flint, Moore’s hometown, was the locale for his first big splash, Roger and Me, about the G.M. chairman, Roger Smith, and the the greed that put thousands of Flint workers on the street. Here, the target is Michigan Governor Rick Snyder and his denial of the crisis that poisoned thousands of Flint residents. They were forced to drink horrifically polluted water while he re-routed clean water to the G.M. plant to keep it from rotting auto parts so that it could remain solvent.

There is disturbing footage of President Barack O’Bama visiting Flint. He tries to show that the water is now good by calling for a glass and drinking it. Moore’s shows graphically, not once, but twice, that President Obama’s lips were the only things that touched the water. He did not take one sip.

Moore likes to use Guerrilla tactics as centerpieces of his narrative, and this film has a doozy. It’s brilliant. He fills up a water tanker, driving it to Governor Snyder’s residence and watering his trees with Flint’s finest tainted H2O. We were hoping for a before and after shot to see what it did to the trees, or an angry reaction from the Governor, but it was not there. Missed opportunity for the film, but still highly amusing.

Moore also shows up at the Governor Snyder’s office with handcuffs to make a citizens’ arrest and offers a glass of Flint water to the Governor’s press flack. The tactics seem over-played and somewhat trite, but still get the desired laughs. These re-routes, however, make us wonder what this all has to do with his original questions. Moore tries to tie them together with his theory that Trump’s prime directive is more profit and ultimate consolidation of power.
His masterful editing of the historical footage and his use of satire to expose the dictator President is reminiscent of film giants like Charlie Chaplin in “The Great Dictator.” When Hitler appears on screen mouthing Trump’s words in Trump’s voice, it’s a powerful and disturbing scene that confirms Michael Moore is always willing to tap in a nail with a jack hammer.
These comparisons of Trump to 1930’s Germany are not original, but he knows these scenes will enrage the Trump Base and confirm the beliefs of the Left. This cautionary note becomes scarier when Moore shows headlines and editorials written by German Jews and translated in the movie dismissing Hitler’s anti-Semitism with a “Don’t worry, once he’s in power he’ll never do those terrible things” shrug.
Moore plays the archival articles next to scenes of ABC’s George Stephanopoulos and guests laughing uproariously at the notion Trump could win the White House. Then a prescient shot of now disgraced Les Moonves admitting the wall-to-wall coverage of Trump “may not be good for America, but it’s darn good for CBS” cements how we got here.
Moore can’t resist the urge to portray Trump’s kinkier inclinations, especially towards daughter Ivanka when asked on a talk-show what he has in common with her and all he can think to say is, “I was going to say ‘sex’.”
He also ventures into the gun control issue with an extended examination of the Parkland school shootings and the emerging activism of youth. Are their voices still being heard? Moore doesn’t flush that out. While these are important issues, they all distract from the main focus of this documentary.
Moore’s conclusion, is that Trump and his base are not only on the wrong side of history, but today’s America. He projects that America has become a “Leftist” nation based on polls reflecting attitudes toward health care, gun-control and even labor unions, as evidenced by the teacher strike in West Virginia, which he uses as another long detour in the film.
Ultimately, Moore’s conviction that all we have to do is keep speaking truth to power, and time will do the rest, not only fails as a satisfying conclusion to this movie, it simply adds to the hopelessness and depression many seem to be feeling, first thing in the morning, checking out national news.
Briarcliff Entertainment 126 minutes R
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