CAPITALISM: A LOVE STORY
US, 2009, 120 minutes, Colour.
Directed by Michael Moore.
Michael Moore seems to enjoy the status of a sign of contradiction, not only in the world of documentaries but in his capacity for challenge to social conditions and policies and the repercussions for government, companies and for ordinary people: American gun culture in his Oscar-winning Bowling for Columbine (2002), terrorism and the Bush administration, Fahrenheit 911 (2004) and, an issue which is currently causing political division in the US, American health care, in Sicko (2007).
Now, in the aftermath of the banking scandals and the credit crunch, a look at American Capitalism and its consequences – not only for Americans but for all of us.
It is worth saying that Michael Moore is less abrasive than he has been in other films. Not less critical.
His films are often criticised for being partisan with the implication that documentary is meant to be objective. This is not the case in even the most 'objective' of films. There is always the point of view of the film-makers and what they include and what they omit, let alone the angles at which they photograph. So, Moore's kind of documentary, a legitimate genre, is polemic. He likes to provoke – and not without reason. When there was criticism of bias in Fahrenheit 911, it seemed that even if only half of what he included in the film was true, then that was extremely alarming.
The title of the present film is heavily ironic – except that Americans have long been in love with Capitalism, especially as the contrary to Socialism and, especially, Communism. Moore takes us back through American history and the developments of capitalism in the land of opportunity. He then focuses on particular individuals, companies and the exploitative money-making in their ventures.
Coming to 2008, he has quite an amount of material, especially but not exclusively, on the banks and the reckless gambling with money, hedge funds, mortgage deals and the duping of innocent (and often naïve) ordinary people with extra interest rates. As always, Moore makes his case emotionally, humorously and personally (with visits to Flint, Michigan, where he comes from and excerpts from his 1989 documentary about General Motors, Roger and Me, which now seems more prophetic than would ever have been thought in the past).
Critics carp at Moore's stunts. But, that is what Moore enjoys. It is a weapon for a polemicist (even taping off blocks of the financial district of New York at the end of the film as a crime scene). He likes and films his being turned away from buildings while requesting to see the company bosses.
There is a great deal to think about as we watch the stories of put-upon people, the insensitive comments of the wealthy wheeler-dealers, the facts and figures of the banking collapse and the details of what the banks have been doing and risking in recent years. Bush is a target. Obama is seen as a sign of hope.
What Moore is doing in his documentary polemic is entertaining and alarming, sermonising and challenging, provoking and provoking.
Moore joked anecdotally in 2003 that during Mass on the day he was awarded the Best Documentary Oscar for Bowling for Columbine, he was distracted during the homily. This time his Catholicism is far more explicit in Capitalism, going back to explain his Catholic upbringing (with some home move clips, even with the sisters at his parochial school), mentioning that he thought about being a priest when he was young and explaining the credibility of priesthood for him through his admiration for priests who marched for social issues, including with Martin Luther King. There are also glimpses of Dan Berrigan SJ in some clips.
For testimonies about the evils in capitalism, he also goes to some clergy for interviews, to two priests from Detroit who officiated at family weddings. He also presents two bishops. An auxiliary bishop of Chicago, speaking at a Mass early in 2009 in solidarity with strikers who were sacked without pay by Republic Doors and Windows and were protesting. (After six days Bank of America decided to pay the wages owed.) He emphasised that the Church stood with them. He also talks with Emeritus Auxiliary Bishop of Detroit, Thomas Gumbleton, a noted figure for his stances and articles on war and peace issues. Moore asks the bishop what Jesus would think of Capitalism. The bishop explains how so many aspects of capitalism, especially rampant capitalism, have no place in the Gospels.
Moore can be mischievous and provocative. He brings Jesus into the film more explicitly. By using clips from Zeffirelli's Jesus of Nazareth, he dubs a Robert Powell voice-alike which makes the point about Jesus and capitalism more humorously and tellingly. By having Jesus say outlandish capitalist opinions in his preaching and by having Jesus refuse to heal someone because of insurance difficulties and medical pre-condition, he makes his audience laugh - and, he hopes, think. By showing a scene of the way of the cross and the crucifixion, he certainly makes his point. A different use of the Jesus-figure.
Moore fans will enjoy Capitalism and feel some moral outrage. Non-fans will probably just be outraged.
1.Michael Moore and his reputation, the impact of his films, love-hate relationships with his audience? The critics and their attack on his one-sidedness?
2.The realm of documentary, as objective, as propaganda? Michael Moore and challenge and polemic? The effect? The opening with Rome and the parallels with America and the Roman Empire and its decline?
3.The film as topical, capitals and in the United States, the 21st century and the banks, the credit squeeze, mortgages, corporations, the bailouts by the government?
4.The political background? The focus on Franklin D. Roosevelt and his attempts at change? Thwarted? The background of Ronald Reagan? Deregulation? The politicians and bankers behind him? Deconstructing America? The politics of control? President Bush, continuing in that tradition? The contrast with President Obama? Moore’s hopefulness? The fact that Obama had to continue the bailout?
5.The title, the nature of capitalism, capitalism run rampant, controlled capitalism? Capitalism in the US? The opposite – socialism, communism? And the playing of the Internationale?
6.The title as Love Story? The American ethos, history, money, religious background, Calvinism and predestination (**??) of success for the wealthy, the Constitution, the Bill of Rights, 19th century industrialism, the tycoons? The American dream for every citizen? The reality?
7.Michael Moore on screen, his look, talk, stunts, jokey, humour, entertaining, mock exasperation? The information, the variety of interviews (journalists, Wallace Shawn, politicians, economists…), his stances, polemic?
8.Audience reaction, the humour, being entertained, exasperated? The style, the content?
9.His explanation of the history of capitalism? Informative? Gaps?
10.The 21st century and the effects of capitalism, for example globalisation, the scenes from Roger and Me in the 1980s and Moore going back to General Motors, the fate of General Motors and bankruptcy? Ownerships of various companies? The personnel? The usual mortgages, the foreclosures? The sad scenes of families, even paying for their having to move? The social issues of judges, corrupt, prison, sentencing young people to jail – and their comments? Insurance schemes? The dead peasants?
11.The experts, the academics, the particular perspectives? For and against capitalism? The politics of the film?
12.The picture of ordinary people, at home, moving, the repossessions, new Orleans and the aftermath of Katrina, the military, the pilots and it lack of finance – and the insertion of the hero who landed the plane in the Hudson? Various plants? Republic Doors and Windows and their protest? The reaction of Bank of America…?
13.The issues of greed, the 1980s, the Wall Street background? The ambitions of the younger types, their ruthlessness in insurance, repossessions, deals? The bankers?
14.The presentation of the church, the priests from Moore’s family, weddings? The background of Moore as a Catholic, his intention to be a priest? The quotes from the bishops, supporting the strikes? Bishop Gumbleton and his perspective? Jesus and the Gospels? The humour of the redubbing of Jesus of Nazareth?
15.Audiences and the conclusions? The joke about the crime scene – and Moore not leaving America, urging people to criticise and fight?
