Scandals, lies, controversy, argument, violence, and manipulation. All of these seem to characterize the last twenty years of American politics. The most relevant, and easiest to remember, examples include the election of 2000, the attacks of September 11, 2001 and the following the war on terror. Fahrenheit 9/11 starts with the election which Moore feels must have involved foul play. Though he never says it directly, Moore insinuates that Fox News purposely misreported the election results when he tells the audience that President Bush’s cousin had high power within Fox News. Later, he uses a similar tactic when revealing the fact that one of the people involved in counting Florida’s votes is associated with President Bush’s political career. Moore never states these views directly, he simply tells the facts which lead to them and implies through tone, music, and types of imagery what he believes.
Moore next takes issue with what he sees as a lack of appropriate seriousness on President Bush’s part. He shows images of the president enjoying himself with silly, fun music in the background. The music does not give the audience the idea that the man shown is to be respected, it implies mockery and foolishness. Again, Moore does not call the president a fool, but it is clear that he feels this way.
Right from the happy, carefree music and imagery of the president on vacation Moore goes to a dark screen with audio footage from the attacks of September 11, 2001. Screams and crashes are heard in sharp contrast to the music played just a scene before. Clearly, the attacks are a serious issue, and this contrast helps convey the a grave tone. Moore then brings us to another light-hearted setting: a kindergarten classroom. President Bush is again shown doing something frivolous when, Moore feels, he should be “doing his job.” The contrasting atmospheres serve to emphasize the disconnect Moore thinks exists between the president and what he needs to be dealing with.
After showing the audience that Osama Bin Laden is the perpetrator of the September 11 attacks, Moore implies conspiracy by showing a relationship between the Bush family and the Bin Laden family. To Moore, this relationship makes it clear that their is some sort of conflict between the Bush family’s business interests and national security. Moore asks questions and gives the audience information, adds in sarcasm and humor, but he never actually states the end of his argument. For Moore, this business relationship, in addition (I hope) to other factors leads to the conclusion that President Bush would be reluctant to interfere with Osama Bin Laden. This, however, is not the only conclusion possible and Moore does not state it as so. He simply gives and talks about the information in a manner which he believes will lead the audience to a similar conclusion.
Whether it is to avoid accusations of treason or just because he finds it more engaging, Moore uses not-so-subtle implications instead of implicit statements. He states facts and shows his feelings with the use of tone and music, and leads the audience to feel the same way he does. Regardless of your personal views on the topics discussed, it is hard to say that Moore is unintelligent or ineffective. Art influences people, and he is one of the best at using this influence to further his agenda.
