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The tagline for Michael Moore's film Fahrenheit 9/11 defines the title as "the temperature at which freedom burns." Somebody thought that up months ago, possibly aware that even before its release, the movie would get grilled.
Fahrenheit 9/11 is a loaded hot potato, an examination of business ties between the Bush and bin Laden family empires that weren't notable until one offspring masterminded terrorist attacks on the U.S. and another went riding for vengeance. George W. and Osama didn't start the fire, Moore asserts; their dealmaking daddies did. Apparently, one freedom that never burns is enterprise.
Moore is unapologetically anti-Bush, as his Oscar acceptance speech last year made clear. If you missed it, check out his Web site (www.michaelmoore.com) or his book Dude, Where's My Country?, the inspiration for Fahrenheit 9/11, for evidence of his bias. Tangled links between the Bush and bin Laden clans, as Moore sees them, are described based on news reports and sheer curiosity, cobbled together to form an intriguing set of circumstances.
This isn't exactly breaking news. The Bush-bin Laden connection was reported soon after the Sept. 11, 2001, terrorist attacks and detailed in at least one book, Craig Unger's House of Bush, House of Saud: The Secret Relationship Between the World's Two Most Powerful Dynasties. Moore interviewed Unger for Fahrenheit 9/11.
This month, Moore's camp announced that Disney wouldn't allow its subsidiary Miramax Films, which coughed up $6-million to make Fahrenheit 9/11, to distribute the film. Wednesday, word came that Disney would allow Miramax to find another distributor. Disney had invoked a clause in its Miramax partnership giving the parent company the right of refusal for any movie "not in the best interest of the company."
Exactly what interests would have been threatened? Moore's agent, Ari Emanuel, says Disney CEO Michael Eisner expressed concern that Gov. Jeb Bush would stick up for his presidential brother and fiddle with tax breaks afforded to Disney's vast Central Florida holdings. Eisner denied saying that, and the governor said: "What tax break?"
Let's get real. Gov. Bush couldn't put the hammer down on Disney in any regard without it seeming like transparent payback for backing Moore's film. He could do perhaps an audit here or an inspection there, but nothing critical. Besides, plenty of other wealthy Republicans with various clouts could apply pressure on Disney worldwide out of loyalty to President Bush. Moore might be kept too busy tracking down the conspiracies in Florida alone to make another film.
Technically, because Disney's money by way of Miramax paid for Moore's movie, Eisner could have simply burned the master print, ensuring that it would never be seen publicly. Instead, he left an opening for Moore or his Miramax guardian angel, Harvey Weinstein, to find another distributor. That isn't censorship, as Moore said Disney's move was on his Web site.
Disney mouthpieces also said Miramax was informed nearly a year ago that the company wouldn't distribute Fahrenheit 9/11. Miramax apparently hoped Disney would change its corporate mind. Moore apparently was convinced that would happen, or else Miramax would use another distribution outlet for Fahrenheit 9/11 to reach theaters, which is what it did with the controversial Dogma in 1999. That film, with its satire of Roman Catholicism, also was disavowed by Disney.
Now Disney has said a new distributor can be sought for Fahrenheit 9/11. But what if that hadn't happened?
What if we questioned Moore's activities in the same personal fashion he applies to big business and government?
Come on, Michael, admit it. You knew long ago that the Miramax distribution deal was at risk. You probably had expected it after Icon Productions, creator of The Passion of the Christ, dropped plans to finance Fahrenheit 9/11. When Mel Gibson thinks a movie is too hot to handle, you have a problem.
Then, facing the chance that your film wouldn't be in theaters before the November election you're trying to influence, you forced Disney's hand by leaking the company's refusal to distribute Fahrenheit 9/11, dropping phrases like "censorship obstacles" to get everyone's attention. Or else you figured that because the movie is a hot ticket at the Cannes Film Festival, where such deals are made, why not stir a little controversy to interest buyers?
It was a publicity stunt, and a good one at that. Nobody was hurt, the movie got timely exposure, and that lame duck Eisner got to flex his right wing to let conservative stockholders, vacationers and moviegoers know Disney hasn't abandoned its patriotic values.
But here's an even better idea, Mr. Moore. You can get loads of publicity and express your Fahrenheit 9/11 viewpoint without having to deal with nervous Hollywood backers.
If your movie means that much to the future of our nation and the fate of people around the world, why wait for a distributor? Take a page from daring filmmakers such as Oscar Micheaux and Melvin Van Peebles, who carted their films from town to town, sometimes using warehouses and garages as theaters, just to redefine African-American screen images. That was also pretty important stuff, wasn't it, Mike?
Think of the attention your arrival would create in each city. The media you love to court would be there doing stories on the Democrats volunteering to tear tickets and the Republicans burning Michael Moore effigy dolls. Hey, maybe you could sell those dolls next to I Like Mike T-shirts. But apart from the circus, there might be serious debate, first about the merits of your film, then about political issues that matter.
Plan free screenings for the lower-income citizens championed in your films, the citizens you believe must turn out to vote to defeat President Bush. Heck, make all the screenings free; maybe you'll change some Republican minds along the way. Money shouldn't be an object when America is at stake.
Micheaux and Van Peebles certainly didn't have the resources you do, not after two bestselling books and Bowling for Columbine, the highest-grossing feature documentary in history. Your Academy Award should get you some kind of discount at the film processing lab. Teamsters appreciate your pro-union stance, so transportation shouldn't be a problem.
Only 172 days remain before the November election. That's enough time to hit at least two key cities in each state, plus enjoy some R&R when the tour hits Hawaii. You'd deserve it by then.
Barnstorming with Fahrenheit 9/11 would be posturing, but that's how you fight fire with fire. Cut out the skittish middlemen (and women) and take your case directly to the people who can make a difference. You have a unique opportunity to ask the tough questions, just like the ones you posed to closeted liberals in Dude, Where's My Country? Put your money, not your foot, where your mouth is.
Dude, where's our movie?
- Steve Persall can be reached at 727 893-8365 or persall@sptimes.com