Sicko (Michael MOORE)

Sophie D.

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Sicko (Michael MOORE)

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Michael Moore, Sicko

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Résumé du document

Ever since his first documentary, "Roger and Me", Michael Moore has always been a controversial documentary maker. His movies tackle burning issues such as the war in Iraq, weapon ownership on the basis of the 2nd amendment, large corporations' greed at the expense of workers and customers. By doing so, he challenges essential values that are at the core of American identity: capitalism, individualism, freedom...etc. Moore irritates, he disturbs the status quo, asks questions that some wishes would be left unspoken...

Sommaire

1. As it was the case for "Roger and Me" and "Bowling for Columbine", Michael Moore created a documentary whose foundations are based on two techniques: persuasion and entertainment (...)

2. However, the most entertaining of all is the omnipresence of Michael Moore in his documentary, which raises questions on the relationship between the filmmaker and his subject. The scathing and cynical comments of Moore prove to be insightful as he dismantles the fallacies of the American healthcare system (...)

3. With such a personal involvement and unique style, is Michael Moore a danger to his own cause? Does the end justify the means? Do the means ruin the movie's credibility? Is partiality in itself a problem? Every documentary is bound to show some bias (...)

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Extraits

[...] Moore has been accused of setting up entire scenes in accusations that raise question in terms of documentary ethics: what can you show, and how do we know that the images aren't deceitful? This concern is all the more salient for Moore's documentaries owing to the fact that he provokes more than he reflects upon. How constructive and productive is that approach? What good is there in denouncing and offering no solution whatsoever? Bringing 9/11 firefighters to Guantanamo to receive medical care is just a fruitless provocation and while it does underline the absurdity of the system, that's how far as it gets. [...]

[...] While his capability in bringing important matters on the political agenda is undeniable and much needed, it is a shame that Moore does it in such a way that his discourse only sounds dishonest. Bernstein Documentaphobia and Mixed Modes: Michael Moore's Roger and Me in Documenting the Documentary, ed. by Grant and Sloniowski, p. 397- 415. Bernstein Documentaphobia and Mixed Modes: Michael Moore's Roger and Me in Documenting the Documentary, ed. by Grant and Sloniowski, p. 397- 415. [...]

[...] On top of that, the figures Moore brandishes, while based on facts, are incommensurable, out of grasp of the common citizen and stretched out to have the greatest shock potential: “There are four times as many health care lobbyists as there are members of Congress”, elderly could end up paying more their prescription drugs that they did before under Part D and a majority of senior citizens could still pay over $2000 a year” while “Billy Tauzin left Congress to become CEO of PhRMA for a million annual salary”[3].These claims also entice because they denounce corporate greed and political corruption, and stir up sentiments of injustice felt by those left out of the American Dream. His tactics relies on appealing more to our emotional side than our rational side. This plays into his intention to make documentaries interesting. A few testimonies would have been sufficient for Moore to make his point across. Instead, he goes on to interviewing people for more than half an hour, which quickly becomes overwhelming. [...]

[...] What are the costs of a little simplification against mass circulation of highly politicized documentary for a political activist? Moore is a key character in this documentary: not only does he make an argument and put the pieces of the puzzle together but he also invites us on his personal journey abroad and in the misery of unfortunate Americans, victims of the system. The relationship between the filmmaker and his subject is definitely not innocent because the subject, in the fashion it is presented, is inseparable from Michael Moore. [...]

[...] His influence goes beyond that of a filmmaker. For instance, he sways the balance of power from an insurance company to one of their insured when the latter threatens to bring Michael Moore into the picture, which would be terrible publicity for the company. This situation echoes other noble deeds Moore embarks upon whether he pays for one of his detractor's hospital bills, or decides to select a few lucky 9/11 firefighters to get medical treatment in Cuba. Each of these actions is highly charged, ideologically speaking, and yet they have very little purpose other than glorifying Moore, portrayed as a selfless hero, and amusing the audience with ideas worthy of a TV sitcom. [...]

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