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America's first production of guilt and apology falls far short of the mark the world demands of that deeply disturbed nation.
Regular readers of The Republic will find it difficult to fathom what all the fuss is surrounding Michael Moore's new documentary film, Fahrenheit 911. The film briefly touches on such now-commonly known themes—at least common to readers of British media, The Republic, and other independent media—as the Bush family's business connections to the bin Laden family, the pre-September 11 Bush White House plans to attack Iraq, and the origins of the hastily-passed civil rights-eroding Patriot Act.
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A more critical documentary maker might have mentioned how the Patriot Act was passed through Congress when the Congressional building was conveniently, and without precedence, mostly closed due to the still-unsolved anthrax attacks, anthrax since proved to have originated on a secret US military base, according to the New York Times.
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The best part of Fahrenheit 911 comes in the last two minutes where a new subject is introduced that should have come around the middle of the film and should have carried at least half the film. In this too-brief a moment, Moore points out that perhaps the so-called War on Terror is actually all for the American domestic audience, and not for the foreign audience at all. This is probably the only place in the film Moore allows himself to speculate, but it comes too late and one gets the feeling not even Moore is prepared to consider the evidence before him with the clear enough eye this story's investigation requires.
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http://republic-news.org/archive/92-repub/92_potvin_moore.htmon edit adding: I didn't post this to bash Moore IN ANY WAY, this article just says to me (and hopefully others) that we must be INSPIRED by what MM did in this movie to work harder/go further to reclaim our sanity and so much that we have seemed to have lost in these recent years.