Fahrenheit 9/11 needs more closure

Michael J. Moore's newest documentary is at times shocking, hilarious and poignant, but suffers from much the same problem as his last film, Bowling for Columbine. The film offers overwhelming evidence of a problem with practically no conclusion.

The movie opens with a summary of the debacle of the 2000 election, then continues to attack the President, examining the numerous shady ties between the Bush family and the Saudi Royal family. Following that, it canvasses the war in Iraq and focuses mainly on the recruiting of poor troops in the U.S.

Moore begins by narrating over footage from Gore rallies prior to the election, and footage from election night. Following the opening credits, the movie goes into what is undoubtedly the most powerful scene of the film, a black screen with the noises of the morning of September 11, 2001. As the sounds continue, a montage of peoples' horrified reactions, falling sheets of paper and burning buildings creates what is quite possibly the most moving portrayal of September 11 on film today. For the following 2/3 of the movie, Moore keeps the audience either laughing or reeling in shock.

Sadly, after that Fahrenheit 9/11 loses focus. Although Moore presents an interesting look at the recruiting practices of the U.S. Military, the war in Iraq and the effect of the war on those with loved ones in Iraq, it seems to have little to do with the beginning of the film. The final third of the movie focuses mainly on the story of one woman and her son who was killed in Iraq. Although moving and interesting, there seems to be little connection between this and the rest of the movie. This part of Fahrenheit 9/11 includes many gruesome and disturbing images of mangled and burnt bodies, and although the images are distressing and leave an impression; they seem to be a part of the film only to shock the audience.

Also, in this section of Fahrenheit 9/11, Moore resumes some of his antics from Bowling For Columbine when he confronts several members of Congress, asking them to sign their children up for the military in Iraq. During another part of the film, he drives around the Capitol in an ice cream truck, reading the U.S.A. Patriot Act to the members of Congress. Although these actions are amusing, they demonstrate a certain juvenile quality in Moore that takes away from the enlightening parts of the movie.

The movie's first major focus, the Bush-Saudi ties, is excellently portrayed, and leaves the audience exactly where Moore intended, wanting to do something about it. This interesting and disturbing section of the movie makes audiences feel like they are gradually getting deeper and deeper into a conspiracy, an atmosphere that Moore sadly loses later in the movie. One of Moore's other talents that is exhibited time and again in the film is his ability to often humorously demonstrate something through clever interludes of music, still pictures, and video, without any narration at all.

The biggest problem with the movie of course, is that there is little or no conclusion to this amazing pile of evidence that Moore has compiled. Following another interesting montage with Moore reading an excellently chosen passage from George Orwell's classic 1984, and Bush looking foolish yet again, the movie simply ends. Although much of the movie thrills, enthralls and rallies, the ending leaves one wishing for more closure. Even so, the movie is certainly worth watching for conservatives and liberals alike.

Fahrenheit 9/11 is 116 minutes, rated R for violent and disturbing images and language and is playing at several local theaters including the AFI Silver Theater, Wheaton Plaza and the Bethesda Row Cinema