Movies: The Art of Burning Bush

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Much of the material is familiar. The film buttresses its arguments from reports in the New York Times and the Washington Post, Craig Unger's House of Bush, House of Saud and Moore's own best seller Dude, Where's My Country? But Moore, a master propagandist and incorrigible entertainer, knows how to assemble footage in piquant ways. He shows a news clip of Bush on a golf course saying sternly, "We must stop the terror," then reverting to country-club form by adding cheerfully, "Now watch this drive." Moore precedes his section on the Patriot Act by noting that Attorney General John Ashcroft had lost his U.S. Senate seat in 2000 to the recently deceased Governor of Missouri: "Voters preferred the dead guy." There's a shot from a few years back of Moore elbowing his way to talk to then Texas Governor Bush, who recognizes him and says, "Behave yourself, will ya? Go find real work."

Moore's work here is to show the corruptive influence of the war in Iraq: coarsening some Americans abroad, killing others. The film contains previously unseen footage of U.S. soldiers' abuse of Iraqi detainees last Christmas Eve. Toward the end, Moore returns home to Flint to grieve with the parents of a dead soldier, then goes to Washington in a quixotic attempt to badger members of Congress into volunteering their sons and daughters for military service.

Fahrenheit 9/11 is necessarily less personal than Bowling for Columbine and lacks its freewheeling gusto. But it's a fascinating collection of talking points in this election year. In Moore, the American left already had its canniest Bush ambusher, its savviest guerrilla entertainer and its most colorful film-festival ambassador. After Cannes, make that "king."