Fahrenheit 9/11 is a 2004 American documentary film directed, written by, and starring Michael Moore.
The subjects of the film are the presidency of George W. Bush, the Iraq War, and the media's coverage of the war. In the film, Moore states that American corporate media were cheerleaders for the 2003 invasion of Iraq, and did not provide an accurate or objective analysis of the rationale for the war and the resulting casualties there.
The title of the film alludes to Ray Bradbury's 1953 novel Fahrenheit 451, a dystopian view of the future United States, drawing an analogy between the autoignition temperature of paper and the date of the September 11 attacks; one of the film's taglines was "The Temperature at Which Freedom Burns".
The film debuted at the 2004 Cannes Film Festival, where it was awarded the Palme d'Or, the festival's highest award. It received generally positive reviews from critics, but it also generated intense controversy, particularly including disputes over its accuracy. The film became the highest-grossing documentary of all time, grossing over $220 million (although it was later surpassed by Michael Jackson's This Is It in 2009). A follow-up, titled Fahrenheit 11/9, about the first presidency of Donald Trump, was released in September 2018.
Synopsis The documentary begins by suggesting that friends and political allies of George W. Bush at Fox News Channel tilted the election of 2000 by prematurely declaring Bush the winner. It then suggests that the handling of the voting controversy in Florida constituted election fraud.
The documentary then segues into the September 11 attacks of 2001. Moore says that Bush was informed of the first plane hitting the World Trade Center on his way to an elementary school in Florida. Bush is then shown sitting in an Emma E. Booker Elementary School classroom with children. When told that a second plane has crashed into the World Trade Center and that the nation is "under attack", Bush allows the students to finish their book-reading, and Moore notes that he continued reading The Pet Goat for nearly seven minutes.
Moore then discusses the tangled relationships among the U.S. government and the Bush family, the bin Laden family, the Saudi Arabian government, and the Taliban, which span over three decades. Moore then states that the United States Government had evacuated 24 members of the bin Laden family on a secret flight shortly after the attacks, without subjecting them to any form of interrogation.
Moore moves on to examine George W. Bush's Texas Air National Guard service record. Moore contends that Bush's dry-hole-oil-well attempts were partially funded by the Saudis and by the bin Laden family through the intermediation of James R. Bath, whose name is shown to have been blacked out from Bush's records. Moore alleges that these conflicts of interest suggest that the Bush administration does not serve in the interests of Americans. The movie continues by suggesting ulterior motives for the War in Afghanistan, including a natural gas pipeline through Afghanistan to the Indian Ocean.
Moore suggests that the Bush administration induced a climate of fear among the American population through the mass media. Moore then describes purported anti-terror efforts, including government infiltration of pacifist groups and other events, and the signing of the USA PATRIOT Act.
The documentary then turns to the subject of the Iraq War, comparing the lives of Iraqis before and after the invasion. The citizens of Iraq are portrayed as living relatively happy lives prior to the country's invasion by the U.S. Armed Forces. The film also takes pains to depict war cheerleading in the U.S. media and the general bias of journalists, with quotes from news organizations and embedded journalists. Moore suggests that atrocities will occur in Iraq and shows footage depicting U.S. abuse of prisoners.
Later in the film, Lila Lipscomb appears with her family after hearing of the death of her son, Sgt. Michael Pedersen, who was killed on April 2, 2003, in Karbala. Anguished and tearful, she questions the purpose of the war.
Tying together several themes and points, Moore thanks those serving in the U.S. military. He claims that the working class of America are always the first to join the Army, while people of higher class display less such readiness. He states that those valuable citizens should not be sent to risk their lives unless it is truly necessary to defend America. The credits roll while Neil Young's "Rockin' in the Free World" plays. (Moore had originally intended to use The Who's "Won't Get Fooled Again" but was denied permission by Pete Townshend).
Moore dedicated the film to his friend who died in the World Trade Center attacks and to those servicemen and women from Flint, Michigan, who died in Iraq: "Michael Pedersen, Brett Petriken, and all the men and women from the Flint Area who have died in the Iraq War ... Bill Weems and the 2,973 who died on 9/11/01 ... and the countless thousands who have died in Afghanistan and Iraq as a result of our actions."
Production Originally planned to be financed by Mel Gibson's Icon Productions (which planned to give Michael Moore eight figures in upfront cash and potential backend), Fahrenheit 9/11 was later picked up by Miramax Films and Wild Bunch in May 2003 after Icon Productions had abruptly dropped the financing deal it made. Miramax had earlier distributed another film for Moore, The Big One, in 1997.
At that time, Disney was the parent company of Miramax. According to the book DisneyWar, Disney executives did not know that Miramax agreed to finance the film until they saw a posting on the Drudge Report. Michael Eisner (the CEO of Disney at that time) called Harvey Weinstein (co-chairman of Miramax at that time) and ordered him to drop the film. In addition, Disney sent two letters to Weinstein demanding Miramax drop the film. Weinstein felt Disney had no right to block the releasing of Fahrenheit 9/11 since the film's $6 million budget was well below the level at which Miramax needed to seek Disney's approval, and it would not be rated NC-17.Stewart, p. 429-430 But Weinstein was in contract negotiations with Disney, so he offered a compromise that he would drop the film if Disney did not like it. Disney responded by having Peter Murphy send Weinstein a letter stating that the film's $6 million budget was only a bridge financing and Miramax would sell off its interest in the movie to get those $6 million back; according to the same letter, Miramax was also expected to publicly state that it would not release the film.
After Fahrenheit 9/11 was nearly finished, Miramax held several preview screenings; they were "testing through the roof".Stewart, p. 519-520 Weinstein informed Eisner that Fahrenheit 9/11 was finished, and Eisner was surprised by the fact that Miramax had continued making the film. Weinstein asked several Disney executives (including Eisner) to watch the film, but all declined; Disney stated again that Miramax would not release the film, and Disney also accused Weinstein of hiding Fahrenheit 9/11 by keeping it off production reports. Disney sent production vice President Brad Epstein to watch Fahrenheit 9/11 on April 24, 2004. According to Weinstein, Epstein said he liked the film; but according to the report Epstein sent to the Walt Disney Company board of directors, Epstein explicitly criticized it. Eisner told Weinstein that Disney's board had decided not to allow Miramax to release the film. Weinstein was furious and he asked George J. Mitchell (chairman of Disney at that time) to see the film, but Mitchell declined. Weinstein asked lawyer David Boies to help find a solution; the Weinsteins and Moore had also hired Chris Lehane to consult on the film's release strategies. Lehane suggested to reveal Disney's decision to The New York Times.
The New York Times reported about Disney's decision on May 5, 2004. Disney stated that both Moore's agent (Ari Emanuel) and Miramax were advised in May 2003 that Miramax would not be permitted to distribute the film. Disney representatives said Disney had the right to veto any Miramax film if it appeared that its distribution would be counterproductive to the interests of the company; indeed, Disney had blocked Miramax from releasing two films before: Kids and Dogma.
Because of these difficulties, distribution was first secured in numerous countries outside the U.S. On May 28, 2004, after more than a week of talks, Disney announced that Miramax film studio founders Harvey and Bob Weinstein had personally acquired the rights to the documentary after Disney declined to distribute it. The Weinsteins agreed to repay Disney for all costs to that point, estimated at $6 million. They also agreed to be responsible for all costs to finish the film and all marketing costs not paid by any third-party film distributors. A settlement between the Weinsteins and Disney was also reached so that 60% of the film's profit would be donated to charity.
The Weinsteins established Fellowship Adventure Group to handle the distribution of this film. Fellowship Adventure Group joined forces with Lions Gate Entertainment (which had released two other Miramax-financed films O and Dogma) and IFC Films to release it in the United States theatrically. (Fellowship Adventure Group also handled the film's U.S. home video distribution through Columbia TriStar Home Entertainment). Moore stated that he was "grateful to them now that everyone who wants to see it will now have the chance to do so.
After being informed that the film had been given an R rating by the Motion Picture Association of America (MPAA), Moore appealed the decision, hoping to obtain a PG-13 rating instead. Moore's lawyer, former Governor of New York, Mario Cuomo, was not allowed to attend the hearing. The appeal was denied on June 22, 2004, and Cuomo contended that it was because he had been banned from the hearing. Some theaters chose to defy the MPAA and allow unchaperoned teenagers to attend screenings.'Fahrenheit' Raters Leave Cuomo Out in the Cold ; The Washington Post; Richard Leiby; June 23, 2004
Release
The film was released theatrically by The Fellowship Adventure Group through a distribution arrangement with Lions Gate Entertainment. On the opening weekend of June 25–27, 2004, the film generated box-office revenues of $23.9 million in the United States and Canada, making it the weekend's top-grossing film. Its opening weekend earned more than the entire U.S. theatrical run of any other feature-length documentary (including Moore's previous film, Bowling for Columbine). The film released in the United Kingdom on July 2, 2004, and in France on July 7, 2004.
Moore has credited part of the theatrical success to the efforts of conservative groups to pressure theaters not to run the film, conjecturing that these efforts backfired by creating publicity. There were also efforts by liberal groups such as MoveOn.org encouraging attendance, in order to defy their political opponents' contrary efforts.
Fahrenheit 9/11 was screened in a number of Middle Eastern countries, including the United Arab Emirates, Lebanon, and Egypt, but was immediately banned in Kuwait. "We have a law that prohibits insulting friendly nations", said Abdul-Aziz Bou Dastour of the Kuwaiti Information Ministry. The film was not shown in Saudi Arabia as public movie theaters were not permitted from 1983 until 2017. The Saudi ruling elite subsequently launched an advertising campaign spanning nineteen U.S. cities to counter criticism partly raised in the film. Democratic members of the Coalition Provisional Authority in U.S.-occupied Iraq had the film screened at the Republican Palace in Baghdad.