Recently I had to re-watch Michael Moore's muckraking sort-of masterpiece Roger & Me (1989) a film that would mark the start of Moore's ascendency to deified portly prince of the Left. Roger & Me was effective as a scathing satire of Reaganomics but also full of fabrications and inaccuracies, which were entirely unnecessary. He had a great story but, much like his lardy lad appetite for tasty sweets, he could not help himself and had to greedily embellish details to make his story that much more shocking. It was a dumb thing to do because it distracted from the important stuff his film addresses.
Still, no one doubts that Moore shined a light on important issues for an audience that could never be reached by The Nation or Mother Jones. He is probably right that professional jealousy accounts for at least some of the sour grapes that his adversaries on the left have been sucking on for some time. But I submit to you that they have a point. (Check out Manufacturing Dissent – a leftist critique of Moore – available illegally, I think, on YouTube.) For all his success it is true that he has dumbed down the discourse surrounding issues of systemic inequality embedded in a classist, white privilege-based society such as ours. He makes his films all about him and like a Leftist Charles Foster Kane he sounds paranoid and overly reactionary about anyone who dares criticize him or his methods.Continue Reading
Roger & Me
Forgetting Michael Moore’s politics, his sometimes annoying personality, and his questionable fact-checking skills, the guy has done more than any other director to bring the art form of documentary filmmaking into the mainstream. His first film, Roger & Me, is still probably his best film. It caused a major stir in the world of documentaries, established the format he has continued to use for decades, and has since been ripped-off and copied by numerous other documentary makers. No documentary before Roger & Me instantly gave its maker such a strong brand name.
Before the breakthrough of Roger & Me in 1989, the documentary field was mostly dominated by concert films, nature, travelogue, and straight political docs, or film theory class usual-suspects like the works of Frederick Wiseman (Titicut Follies). Though there were a number of important documentarians on the scene with vital careers like Albert and David Maysles (Grey Gardens), Barbara Kopple (Harlan County, USA), D.A. Pennebaker (Don’t Look Back), Rob Epstein (The Times Of Harvey Milk), and even Michael Apted with his ongoing Up Series for British television. Then in the mid '80s Errol Morris really broke through with his minimalist true-crime saga, The Thin Blue Line, as did Ross McElwee with his very personal history lesson, Sherman’s March. They all led the way for Michael Moore to infuse blue-collar liberal politics with his personal and humorous slant.Continue Reading