First, here's a photo of this defender of the common man from the heartland:
Now, here's his column, which reveals in a very ironic way how much he despises normal Americans, whom he claims to be defending. It's so strange to me how someone can see things so differently. I saw the people in this movie as normal people like me, people rarely seen in movies or on TV, and he sees them in the way I've highlighted:
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Virtually everyone in "Fahrenheit 9/11"--and it doesn't matter which side they're on--is a dupe or a stupe in Michael's world. A long segment features a Fresno peace group, supposedly infiltrated by an undercover cop. Filming in their meeting room, Moore makes them look like goofy, witless innocents, and just so you don't miss the point, he runs tinkly soda-pop music beneath their scenes.
A young Oregon state highway patrolman looks like a fool, because he's standing guard on a highway in the middle of nowhere. Residents of Tappahannock, Va., commenting on a bureaucratic snafu over their town's name, sound like bewildered country yokels.
Moore's on-camera characters are invariably lower middle class and inarticulate. In fact, no one is physically attractive or stylish, which allows Moore's big-city target audience to stay inside its normal film-going comfort zone of smirking condescension.
The U.S. soldiers who speak onscreen in Iraq come across as bloodless killers with Southern accents. They sound stupidly unfeeling about the war's destruction. It wasn't clear to me that even this audience was in sync with the filmmaker's willingness to make a mockery of American soldiers. Moore's misanthropy is equal opportunity; he shows a greasy white guy in Flint, Mich., with a tattoo on his arm, whose thoughts on domestic security are that you can't trust anyone anymore, even people you know. That got a big laugh. All the people in Moore's beloved Flint--which appears in "Fahrenheit" as a few bombed-out housing blocks--are either dopey white trash or oppressed blacks. Two Marine recruiters walking around a U.S. shopping center are manipulative and opportunistic. They're made to look bad.
more...
http://www.opinionjournal.com/columnists/dhenninger/?id=110005392