Michael Moore, Ugly American
Filmmaker Taken to Task for Arrogance, Ignoring Israel
By Jefferson Morley
washingtonpost.com Staff Writer
Tuesday, July 13, 2004; 10:30 AM
Michael Moore can handle verbal abuse from the conservative pundits in America, but harsh words from Pete Townshend, lead guitarist for The Who, may hit closer to his liberal heart.
"I greatly resent being bullied and slurred by him just because he didn't get what we wanted from me," Townshend told Ireland Online.
Moore wanted Townshend's rock anthem "Won't Get Fooled Again" for use on the soundtrack of his anti-Bush documentary film, "Fahrenheit 9/11." Townshend refused, saying he thought Moore's previous movies amounted to "bullying." In response, Townshend said that Moore accused him of being a war supporter. Townshend says Moore's attitude was evocative of President Bush's war on terrorism credo: if you're not with me, you're against me.
"It seems to me that this aspect of his nature is not unlike that of the powerful and willful man at the centre of his documentary," Townshend observed.
Ouch. As "Fahrenheit 9/11" is released into theaters around the world, Moore is beginning to face a new kind of criticism. On American talk radio, Moore may be denounced as practically anti-American. In the international online media, the pudgy filmmaker from Flint, Michigan, is often seen as all too American. He is more than occasionally described as a stereotypical "ugly American" -- overbearing to people of different cultures, oblivious to nuance, unsophisticated in politics and arrogant in temperament.
The most common substantive criticism is that he scants the role of Israel in the politics of the Iraq war.
But the criticism hasn't kept people from lining up at the box office. The opening day box office receipts broke the British record for a documentary, according to the Daily Telegraph of London.
The French attitude was evident in a droll dispatch in Le Monde about Moore's press conference for foreign reporters in New York last week. In front of 150 reporters, Moore dispensed political advice to the people of many nations.
He urged the British to vote out Prime Minister Tony Blair. He wished the Australians would dump Prime Minister John Howard.
"The chief of the Italian government, Silvio Berlusconi, was not forgotten by the filmmaker," the Parisian daily observed dryly.
"If I were an Italian citizen, I would have left the movie theater asking myself what in the world Berlusconi was doing by always hanging on to George W. Bush's coattails," Moore was quoted as saying. "It is embarrassing for Italy and the earlier there is regime change in Rome, the better."
Moore also had advice for the people of South Korea, according to the Seoul daily Chosun Ilbo.
"I hope Korean viewers start a social campaign against the dispatch of additional troops to Iraq," he said.
Moore was apparently unaware that South Koreans opposed to the U.S.-led war had started such a campaign more than a year ago and that it already enjoys substantial public support.
Simon Houpt of Toronto's Globe and Mail wrote Moore's advice "reflected a typically American arrogance -- his assumption that the war should be the primary issue for foreign voters simply because it's the primary issue for him."
To be sure, Moore's movie has overseas admirers. After all, the film did win the prestigious Palme d'Or at the Cannes international film festival.
"The genius of this most American of films is that it has turned politics into a blockbuster subject," wrote a reviewer in the Observer of London. "It's the first punk rock movie: it must have cost less to make than The Blair Witch Project, and yet he's managed to distill reality and come up with something more powerful."
Some of the criticism abroad echoes that heard in America, faulting Moore for intellectual incoherence and emotional exploitation. But other critics voiced arguments not often heard in the United States.
Emir Kusturica, a filmmaker from Sarajevo, told the Israeli daily Haaretz that he was not impressed by Moore's desire to defeat Bush.
"What is the difference between one American president and another?" aked Kusturica. "They're all really the same, they're all products of the media and they all declare that they want the same thing -- to do well by the people and bring peace to the Middle East."
The failure to talk about Israel is the biggest weakness of the film, said al-Jazeera.net.
The Qatar-based news site credited Moore with dramatizing "that democracy itself has been threatened by the Bush presidency" but faulted the film's emphasis on ties between the Bush family and Saudi Arabia.
"The implicit suggestion that the Saudi government is somehow driving the Bush administration's policies towards the region flies in the face of Washington's unprecedented support for Israel as well as strong regional opposition to the invasion of Iraq."
Hussein Ibish, a Washington-based commentator writing for the Daily Star in Beirut, Lebanon, said Moore ignored "the massive paper trail demonstrating a pre-existing agenda, which placed the overthrow of the Iraqi regime at the center of both US and Israeli policies."
Instead, Moore depicts "the malevolent influence of 'the Saudis,' a phrase that in the US is increasingly spat out with utter contempt, reminiscent of the tone reserved for 'the Jews' in anti-Semitic discourse, ascribing to millions of otherwise heterogeneous people the same menacing and hostile essence."
"Moore may or may not affect the election," Ibish concluded. "But he has certainly succeeding [sic] in bringing to a great many Americans the most powerful critique of US foreign policy they have ever heard, albeit one that rests on a bizarre and incoherent conspiracy theory and which confuses at least as much as it enlightens."
Isn't this guy Canadian?