Click on title to link to the Renegade Eye blog posting of a review in Socialist Appeal of the Michael Moore film, Capitalism: A Love Story.
Markin comment:
Originally, I did not intend to review Michael Moore's Capitalism: A Love Story and was more than happy to let the linked article posted on October 29, 2009serve in that capacity leaving myself the short comment below:
"Thanks for saving me from having to review this work. While we can all appreciate the work of Michael Moore in tweaking the right (here in America) I would feel much better about his work, his person, and his politics if he didn't have that front row seat safely ensconced in the midst of the Democratic Party. Michael- Break with the Democrats! Enough said."
After a recent re-viewing of the film documentary I still do no feel any great need to review the film, although in addition to the quoted comment above, which I stand by and I believe is still good advise for Mr. Moore, I do have a couple of other comments to make:
First, although this documentary was just released last year it already has a dated feel to it, as governmental regimes have changed but not the greedy profit motive that drives the capitalist economy and which the twin governmental parties of capitalism, Republican and Democratic, each in their way, serve. Moore’s main object at the time, I assume, was to take advantage, easy advantage as the case turned out, of the villainous characters that ran the capitalist government under President Bush, under whose regime all economic hell broke loose, especially in 2008. That was then, and this is now though. The easily interchangeable cast of characters now look remarkable the same, the wars the same, unemployment still at modern day highs, Wall Street bonuses obscene, Congress still under that street's thumb (as Moore, in his great film-making capacity, really captures) under new “go to” guy Obama. Sure, plenty of people had (and still have) lots of illusions in Obama so Brother Moore was not alone, although some of the others had enough sense not to film their glee for the world to see and thus have to now shield their faces from public view after the inevitable shoe has fallen.
Second, one of the central motifs here is Moore’s notion that this country can turn itself around by going back to some form of Rooseveltian “New Deal" (his Second Bill Of Rights). But his big push is for social and political action by the “little people.” (Called by Moore, and others, the middle class, although it is really called the working class, brother, at least from the film footage interviews from such towns as Detroit and Cleveland. There is nothing wrong with calling a thing by its right name, okay?) Moore makes several plugs (including at the end) for people to “do something.” Unfortunately, such a vague statement in politics can be turned on you. In a racist-tinged, anti-immigrant, starve public services (part of which is directed at those same two groups) “Age of the Tea Bag”, political action by the “little people” is not always, without a program, a socialist program, the kind of clarion call to action that one is looking for. So political programmatic clarity, always in short supply with Moore, is a must.
Finally, although I didn’t notice it as much on the first viewing, Moore’s worldview is informed by an almost Catholic Worker movement-like (formed in the old Great Depression days by Dorothy Day and others, and later included followers like the Berrigan brothers and many ex-priests and ex-nuns) sensibility. Now, as I, perhaps, have mentioned before Dorothy Day was revered in my childhood home, especially by my devout, pious poor mother. So I can thus sense the origins of the quest for justice in Moore’s work, as that spark also drove part of my own social education, if not for his conclusions. But Brother Moore that was long ago, and I was just I kid. Grownups fight, and fight hard, under the banner-Break with the Democrats! Fight for our communist future!
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