Not to be confused with Fahrenheit 11/9.
Theatrical release poster
|Directed by||Michael Moore|
|Written by||Michael Moore|
|Box office||$222.4 million|
Fahrenheit 9/11 is a 2004 American documentary film directed, written by, and starring filmmaker, director and political commentatorMichael Moore. The film takes a critical look at the presidency of George W. Bush, the War on Terror, and its coverage in the media. In the film, Moore contends that American corporate media were "cheerleaders" for the 2003 invasion of Iraq, and did not provide an accurate or objective analysis of the rationale for the war or the resulting casualties there.
The film generated intense controversy, including disputes over its accuracy. The title of the film alludes to Ray Bradbury's 1953 novel Fahrenheit 451, a dystopian view of the future United States, drawing an analogy between the autoignition temperature of paper and the date of the September 11 attacks; one of the film's taglines was "The Temperature at Which Freedom Burns".
The film debuted at the 2004 Cannes Film Festival and received a 20-minute standing ovation, among the longest standing ovations in the festival's history. The film was also awarded the Palme d'Or, the festival's highest award. The film is the highest grossing documentary of all time.
The movie begins by suggesting that friends and political allies of George W. Bush at Fox News Channel tilted the election of 2000 by prematurely declaring Bush the winner. It then suggests the handling of the voting controversy in Florida constituted election fraud.
The film then segues into the September 11 attacks. Moore says Bush was informed of the first plane hitting the World Trade Center on his way to an elementary school. Bush is then shown sitting in a Florida classroom with children. When told that a second plane has hit the World Trade Center and that the nation is "under attack", Bush allows the students to finish their book reading, and Moore notes that he continued reading for nearly seven minutes.
Moore then discusses the complex relationships between the U.S. government and the Bush family; and between the bin Laden family, the Saudi Arabian government, and the Taliban, which span over three decades. Moore then states that the United States government evacuated 24 members of the bin Laden family on a secret flight shortly after the attacks, without subjecting them to any form of interrogation.
Moore moves on to examine George W. Bush's Air National Guard service record. Moore contends that Bush's dry-hole oil well attempts were partially funded by the Saudis and by the bin Laden family through the intermediary of James R. Bath. Moore alleges that these conflicts of interest suggest that the Bush administration does not serve the interests of Americans. The movie continues by suggesting ulterior motives for the War in Afghanistan, including a natural gas pipeline through Afghanistan to the Indian Ocean.
Moore alleges that the Bush administration induced a climate of fear among the American population through the mass media. Moore then describes purported anti-terror efforts, including government infiltration of pacifist groups and other events, and the signing of the USA PATRIOT Act.
The documentary then turns to the subject of the Iraq War, comparing the lives of the Iraqis before and after the invasion. The citizens of Iraq are portrayed as living relatively happy lives prior to the country's invasion by the U.S. military. The film also takes pains to demonstrate supposed war cheerleading in the U.S. media and general bias of journalists, with quotes from news organizations and embedded journalists. Moore suggests that atrocities will occur in Iraq and shows footage depicting U.S. abuse of prisoners.
Later in the film, Lila Lipscomb appears with her family after hearing of the death of her son, Sgt. Michael Pedersen, who was killed on April 2, 2003, in Karbala. Anguished and tearful, she begins to question the purpose of the war.
Tying together several themes and points, Moore compliments those serving in the U.S. military. He claims that the lower class of America are always the first to join the Army, so that the people better off do not have to join. He states that those valuable troops should not be sent to risk their lives unless it is necessary to defend America. The credits roll while Neil Young's "Rockin' in the Free World" plays.
Moore dedicated the film to his friend who was killed in the World Trade Center attacks and to those servicemen and women from Flint, Michigan that have been killed in Iraq: "Michael Pedersen, Brett Petriken and all the soldiers from the Flint area who have died in the Iraq War ... Bill Weems and the 2973 who died on 9/11/01 ... and the countless thousands who have died in Afghanistan and Iraq as a result of our actions."
Originally planned to be financed by Mel Gibson's Icon Productions (which planned to give Michael Moore eight figures in upfront cash and potential backend),Fahrenheit 9/11 was later picked up by Miramax Films and Wild Bunch in May 2003 after Icon Productions had abruptly dropped the financing deal it made. Miramax had earlier distributed another film for Moore, The Big One, in 1997.
At that time, Disney was the parent company of Miramax. According to the book DisneyWar, Disney executives did not know that Miramax agreed to finance the film until they saw a posting on the Drudge Report. Michael Eisner (the CEO of Disney at that time) called Harvey Weinstein (co-chairman of Miramax at that time) and ordered him to drop the film. In addition, Disney sent two letters to Weinstein demanding Miramax drop the film. Weinstein felt Disney had no right to block the releasing of Fahrenheit 9/11 since the film's $6 million budget was well below the level that Miramax needed to seek Disney's approval, and it would not be rated NC-17. But Weinstein was in contract negotiations with Disney, so he offered a compromise that he would drop the film if Disney did not like it. Disney responded by having Peter Murphy send Weinstein a letter stating that the film's $6 million budget was only a bridge financing and Miramax would sell off its interest in the movie to get those $6 million back; according to the same letter, Miramax was also expected to publicly state that it would not release the film.
After Fahrenheit 9/11 was nearly finished, Miramax held several preview screenings; they were "testing through the roof". Weinstein informed Eisner that Fahrenheit 9/11 was finished, and Eisner was surprised by the fact that Miramax had continued making the film. Weinstein asked several Disney executives (including Eisner) to watch the film, but all declined; Disney stated again that Miramax would not release the film, and Disney also accused Weinstein of hiding Fahrenheit 9/11 by keeping it off production reports. Disney sent production vice president Brad Epstein to watch Fahrenheit 9/11 on April 24, 2004. According to Weinstein, Epstein said he liked the film; but according to the report Epstein sent to the Walt Disney Company board of directors, Epstein clearly criticized it. Eisner told Weinstein that Disney's board decided not to allow Miramax to release the film. Weinstein was furious and he asked George J. Mitchell (chairman of Disney at that time) to see the film, but Mitchell declined. Weinstein asked lawyer David Boies to help find a solution; the Weinsteins and Moore had also hired Chris Lehane to consult on the film's release strategies.
The New York Times reported about Disney's decision on May 5, 2004. Disney stated that both Moore's agent (Ari Emanuel) and Miramax were advised in May 2003 that Miramax would not be permitted to distribute the film. Disney representatives said Disney had the right to veto any Miramax film if it appeared that its distribution would be counterproductive to the interests of the company; indeed, Disney had blocked Miramax from releasing two films before: Kids and Dogma.
Because of these difficulties, distribution was first secured in numerous countries outside the U.S. On May 28, 2004, after more than a week of talks, Disney announced that Miramax film studio founders Harvey and Bob Weinstein had personally acquired the rights to the documentary after Disney declined to distribute it. The Weinsteins agreed to repay Disney for all costs to that point, estimated at around $6 million. They also agreed to be responsible for all costs to finish the film and all marketing costs not paid by any third-party film distributors. A settlement between the Weinsteins and Disney was also reached so that 60% of the film's profit would be donated to charity.
The Weinsteins established Fellowship Adventure Group to handle the distribution of this film. Fellowship Adventure Group joined forces with Lions Gate Entertainment (which had released two other Miramax-financed films O and Dogma) and IFC Films to release it in the United States theatrically. (Fellowship Adventure Group also handled the film's U.S. home video distribution through Columbia TriStar Home Entertainment). Moore stated that he was "grateful to them now that everyone who wants to see it will now have the chance to do so.
After being informed that the film had been given an R rating by the Motion Picture Association of America, Moore appealed the decision, hoping to obtain a PG-13 rating instead. Moore's lawyer, former Governor of New York, Mario Cuomo, was not allowed to attend the hearing. The appeal was denied on June 22, 2004, and Cuomo contended that it was because he had been banned from the hearing. Some theaters chose to defy the MPAA and allow unchaperoned teenagers to attend screenings.
The film was released theatrically by The Fellowship Adventure Group through a distribution arrangement with Lions Gate Entertainment. On its opening weekend of June 25–27, 2004, the film generated box-office revenues of $23.9 million in the U.S. and Canada, making it the weekend's top-grossing film. Its opening weekend earned more than the entire U.S. theatrical run of any other feature-length documentary (including Moore's previous film, Bowling for Columbine). The film was released in the UK on July 2, 2004 and in France on July 7, 2004.
Moore credited part of the theatrical success to the efforts of conservative groups to pressure theaters not to run the film, conjecturing that these efforts backfired by creating publicity. There were also efforts by liberal groups such as MoveOn.org (who helped promote the film) to encourage attendance in order to defy their political opponents' contrary efforts.
Fahrenheit 9/11 was screened in a number of Middle Eastern countries, including the United Arab Emirates, Lebanon, and Egypt, but was immediately banned in Kuwait. "We have a law that prohibits insulting friendly nations", said Abdul-Aziz Bou Dastour of the Kuwaiti Information Ministry. The film was not shown in Saudi Arabia as public movie theaters are not permitted. The Saudi ruling elite subsequently launched an advertising campaign spanning nineteen US cities to counter criticism partly raised in the film.
The film was shown in Iran, an anomaly in a nation in which American films had been banned since the Iran hostage crisis in 1979. Iranian film producer and human rights activist Banafsheh Zand-Bonazzi communicated with Iranians who saw the film, and claimed that it generated a pro-American response.
In Cuba, bootlegged versions of the film were shown in 120 theaters, followed by a prime-time television broadcast by the leading state-run network. It had been widely reported that this might affect its Oscar eligibility, since the film was broadcast on television less than nine months after its theatrical release. However, soon after that story had been published, the Academy of Motion Picture Arts and Sciences issued a statement denying this, saying, "If it was pirated or stolen or unauthorized we would not blame the producer or distributor for that". In addition, Wild Bunch, the film's overseas distributor for Cuba, issued a statement denying a television deal had been struck with Cuban Television. The issue became moot, however, when Moore decided to forgo Oscar eligibility in favor of a pay-per-view televising of the film on November 1, 2004.
The film was received positively by critics. It received an 83% Fresh rating on Rotten Tomatoes based on 229 reviews. It also received a score of 67 (generally favorable) on Metacritic, based on 43 reviews. The consensus according to Rotten Tomatoes being "Extremely one-sided in its indictment of the Bush administration, but worth watching for the humor and the debates it'll stir".
Film critic Roger Ebert, who gave the documentary three and a half stars out of four, says that the film "is less an exposé of George W. Bush than a dramatization of what Moore sees as a failed and dangerous presidency". In the film, Moore presents footage of Vice President Al Gore presiding over the event that would officially anoint Bush as president, the day that a joint session of the House of Representatives and the Senate would certify the election results. "Moore brings a fresh impact to familiar material by the way he marshals his images", says Ebert.
Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "Michael Moore's anti-Bush polemic gave millions of frustrated liberals exactly what they needed to hear in 2004--and infuriated just about everyone else. Along the way, it became the highest-grossing documentary of all time."
Grossing over $222 million total worldwide, the film is the highest grossing documentary of all time, according to Box Office Mojo. The film had a general release in the United States and Canada on June 23, 2004. It has since been released in 42 more countries. On Al-Jazeera in August 2012, Moore claimed the movie "grossed about half a billion dollars" worldwide.
Fahrenheit 9/11 was released to DVD and VHS on October 5, 2004, an unusually short turnaround time after theatrical release. In the first days of the release, the film broke records for the highest-selling documentary ever. About two million copies were sold on the first day, most of which (1.4 million) were sold as rentals.
A companion book, The Official Fahrenheit 9/11 Reader, was released at the same time. It contains the complete screenplay, documentation of Moore's sources, audience e-mails about the film, film reviews, and articles.
Initial television presentations
The two-hour film was planned to be shown as part of the three-hour "The Michael Moore Pre-Election Special" on iN DEMAND, but iN DEMAND backed out in mid-October. Moore later arranged for simultaneous broadcasts on November 1, 2004 at 8:00 p.m. (EST) on Dish Network, TVN, and the Cinema Now website and material prepared for "The Michael Moore Pre-Election Special" was incorporated into "Fahrenheit 9/11: A Movement in Time", which aired that same week on The Independent Film Channel.
The movie was also shown on basic cable television in Germany and Austria on November 1, 2004 and November 2, 2004. In the UK, the film was shown on Channel 4 on January 27, 2005. In Hungary, it was shown on RTL Klub, a commercial channel, on September 10, 2005, on m1, one of the national channels, on August 13, 2006, on m2, the other national channel, on September 1, 2006. In Denmark, it was shown on Danmarks Radio (normally referred to as just DR), which is Denmark's national broadcasting corporation, on April 11, 2006. In Norway, it was shown on NRK, the national broadcasting corporation, on August 27, 2006. The film was screened in New Zealand on September 9, 2006 on TV ONE, a channel of TVNZ. The next day, the Dutch network Nederland 3 aired the film. In Belgium, it was shown on Kanaal 2 on October 12, 2006. In Brazil, it aired on October 10, 2008 on TV Cultura, the São Paulo public broadcasting network.
|Fahrenheit 9/11: Original Soundtrack|
|Soundtrack album by Various artists|
|Released||October 5, 2004 (2004-10-05)|
The soundtrack to Fahrenheit 9/11 was released on October 5, 2004 by Rhino Entertainment.
In April 2004, the film was selected to compete for the Palme d'Or at the 57th Cannes Film Festival. After its first showing in Cannes in May 2004, the film received a 15–20 minute standing ovation; Harvey Weinstein, whose Miramax Films funded the film, said, "It was the longest standing ovation I've seen in over 25 years".
On May 22, 2004, the film was awarded the Palme d'Or. It was the first documentary to win that award since Jacques Cousteau's and Louis Malle's The Silent World in 1956. Just as his much publicized Oscar acceptance speech, Moore's speech in Cannes included some political statements:
I have a sneaking suspicion that what you have done here and the response from everyone at the festival, you will assure that the American people will see this film. I can't thank you enough for that. You've put a huge light on this and many people want the truth and many want to put it in the closet, just walk away. There was a great Republican president who once said, if you just give the people the truth, the Republicans, the Americans will be saved. […] I dedicate this Palme d'Or to my daughter, to the children of Americans and to Iraq and to all those in the world who suffer from our actions.
Some conservatives in the United States, such as Jon Alvarez of FireHollywood, commented that such an award could be expected from the French. Moore had remarked only days earlier that: "I fully expect the Fox News Channel and other right-wing media to portray this as an award from the French. […] There was only one French citizen on the jury. Four out of nine were American. […] This is not a French award, it was given by an international jury dominated by Americans." The jury was made up of four North Americans (one of them born in Haiti), four Europeans, and one Asian.
He also responded to suggestions that the award was political: "Quentin [Tarantino] whispered in my ear, 'We want you to know that it was not the politics of your film that won you this award. We are not here to give a political award. Some of us have no politics. We awarded the art of cinema, that is what won you this award and we wanted you to know that as a fellow filmmaker.'" In comments to the prize-winning jury in 2005, Cannes director Gilles Jacob said that panels should make their decision based on filmmaking rather than politics. He expressed his opinion that though Moore's talent was not in doubt, "it was a question of a satirical tract that was awarded a prize more for political than cinematographic reasons, no matter what the jury said". Interviewed about the decision four years later, Tarantino responded: "As time has gone on, I have put that decision under a microscope and I still think we were right. That was a movie of the moment – Fahrenheit 9/11 may not play the same way now as it did then, but back then it deserved everything it got."
People's Choice Award
The film won additional awards after its release, such as the People's Choice Award for Favorite Motion Picture, an unprecedented honor for a documentary.
Golden Raspberry Awards
Nine months after Fahrenheit 9/11 received the Palme d'Or, George W. Bush, Donald Rumsfeld, and Condoleezza Rice won the Worst Actor, Worst Supporting Actor, and Worst Screen Couple (Bush/Rice) in the 25th Golden Raspberry Awards because of their mishandling of the 9/11 attacks and the Iraq War.
Britney Spears, who appeared in the film in a cameo where she expressed her support of Bush, won the Golden Raspberry for Worst Supporting Actress.
Main article: Fahrenheit 9/11 controversies
The film generated criticism and controversy after its release shortly before the United States presidential election, 2004. British-American journalist and literary critic Christopher Hitchens contended that Fahrenheit 9/11 contains distortions and untruths. This drew several rebuttals, including an eFilmCritic article and a Columbus Free Press editorial. Former Democratic mayor of New York City Ed Koch, who had endorsed President Bush for re-election, called the film propaganda. In response, Moore published a list of facts and sources for Fahrenheit 9/11 and a document that he says establishes agreements between the points made in his film and the findings of the 9/11 Commission.
The film was released in June 2004, less than five months before the 2004 presidential election. Michael Moore, while not endorsing presidential candidate John Kerry, stated in interviews that he hoped "to see Mr. Bush removed from the White House". He also said that he hoped his film would influence the election: "This may be the first time a film has this kind of impact". However, some political analysts did not expect it to have a significant effect on the election. One Republican strategist stated that Moore "communicates to that far-left sliver that would never vote for Bush", and Jack Pitney, a government professor at Claremont McKenna College, suspected that the main effect of the film would be to "turn Bush-haters into bigger Bush-haters". Regardless of whether the film would change the minds of many voters, Moore stated his intention to use it as an organizing tool, and hoped that it would energize those who wanted to see Bush defeated in 2004, increasing voter turnout. Notwithstanding the film's influence and commercial success, George W. Bush was re-elected in 2004.
In February 2011, Moore sued producers Bob and Harvey Weinstein for US$2.7 million in unpaid profits from the film, stating that they used "Hollywood accounting tricks" to avoid paying him the money. They responded Moore had received US$20 million for the film and that "his claims are hogwash". Eventually, Bob and Harvey Weinstein reached a settlement with Moore for undisclosed amounts and terms.
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- Current Status
- In Season
- 116 minutes
- Wide Release Date
- Michael Moore
- Michael Moore
- Fellowship Adventure, Lions Gate Films
- Michael Moore
In Fahrenheit 9/11, Michael Moore’s potent and infuriating fight-the-power documentary, the most memorable indictment comes early on. It’s the moment you’ve heard about, but probably never seen, of President George W. Bush sitting in a Florida grade school and reading the book ”My Pet Goat” for a full seven minutes after he’s been told that the second plane has hit the World Trade Center. The power of the footage transcends virtually any issue of left, right, or center. Bush wears a look of pale suppressed horror, yet an executive decision seems beyond him. He’s portrayed as a man who can and will not act, a President — a President! — who greets this most calamitous of events by waiting for others to tell him what to do. On the soundtrack, Moore guilt-trips Bush by speculating, mischievously, as to his thoughts. Moore’s voice is pitiless in its didactic sarcasm, yet he gets at something essential about the inner Dubya. Watching the footage, you don’t doubt that Bush’s anguish was genuine, yet you also can’t help but wonder if it reflected his ultimate slacker nightmare: that the job was now going to be exponentially harder than he’d bargained for.
At moments like that, ”Fahrenheit 9/11” offers a catharsis for the audience. Dazzlingly assembled, at once reckless and insightful, the movie filters the actions of the Bush administration through a nose-thumbing outrage that might have been irresponsible if Moore’s own words weren’t girded by images that spoke 1,000 more. Watching ”Fahrenheit 9/11,” you may find yourself rejecting one line of attack (like, say, Moore’s opening salvo about the Republicans stealing the election), chuckling at an irresistible cheap shot like clips of Bush on his ranch set to the Go-Go’s’ ”Vacation,” and responding to such richly evocative gambits as the movie following two Marine recruiters who seek out a working-class shopping mall to prowl for new enlistees. When the filmmaker hits the streets of Washington himself, wandering up to random congressmen to ask if they’d consider sending their own children to fight in the Iraq war, you’re reminded of how Michael Moore dramatizes, in a way no one else can touch, the distance and hypocrisy of power.
”Fahrenheit 9/11” sharpens the focus on power, and it reveals the cataclysm of Iraq — the blood and the turmoil, the hidden doubts of the soldiers — in a way that makes the official news coverage look like a dryly censored press release. At times, I felt moved and manipulated at the same moment, notably when Moore interviews Lila Lipscomb, a Flint woman whose son was killed in Iraq. Her tears and anger bring the war home, yet Moore won’t let go. He follows Lipscomb to Washington and films her in front of the White House, where she gets into a shouting match with a woman on the street. The mix of grief and showboating reduces Moore’s empathy to a thin parody of empathy.
Moore portrays the Bush era as a series of sinister forces run rampant, with a puppet firebreather in charge. Yet what, according to the movie, is the essence of the administration’s corruption? That it used 9/11 as an excuse to increase oil profits? To frighten all Americans into giving up their freedom? To keep the workingman down? As analysis, ”Fahrenheit 9/11” is mostly a smash-and-grab polemic. It’s less cogent or searching than Moore’s ”Bowling for Columbine,” which looked at one issue — gun violence — from every angle, until Moore had surprised himself with what he discovered. In ”Fahrenheit 9/11,” Moore makes the devastating point that the attempt to hunt down Osama bin Laden in Afghanistan wasn’t as all-out as it pretended to be. Many more troops could have been deployed. Yet the scandalous explanation for this strategic botch — that the administration was holding back for the war in Iraq, already in the planning stages — is never even mentioned in the movie. Where to locate that ultimate damning analysis? Why, in any one of the countless TV interviews given by Richard Clarke more than two months ago.
”Fahrenheit 9/11” creates as much heat as it does light. Moore, however, does pull together the last four years by filtering them through the prism of Bush’s personality. He gets you to connect the theatrical snigger that’s meant to look manly but, instead, telegraphs a cushy insularity; the overreliance on others to stake out decisions; and, finally, the application of the slacker mind-set to warfare by the substitution of an easy target (Iraq) for a hard one (al-Qaeda). Scalding and glib, derisive yet impassioned, ”Fahrenheit 9/11” is highly resonant Bush-bashing, since the President does most of the work for it. The film depicts the war on terror as run by a man who turns taking a stand into the ultimate form of role playing. B+