May 27, 2004

The Making of Michael Moore's Passion

The similarities between Michael Moore and Mel Gibson, and Farenheit 9/11 and The Passion are worth noting. Let's see: zealots with messiah complexes? Yep. Threat of damnation if film's message isn't heeded? Check. Sensationalistic cineporn tactics to reach beyond true believers? Yep. Special guest star: Satan? Uh-huh. Out to make so much money their directors'll have an easier time passing a camel through the eye of a needle? Check and checkmate.

At The Hot Button, David Poland gets all New York Review of Books on Moore's ass, pointing out, with cool and logic, the inconsistencies and contradictions in the creation myth that's being preached about Farenheit 9/11 and its marketing. It's a great read, and he's right--Moore's inaccurate depiction of the Disney Sanhedrin is distorted and inflammatory.

Likewise, Gibson claimed of biblical accuracy for his film, when in fact, it drew heavily from the ecstatic visions of one 19th century German nuncase. That scholars and serious theologians--and experienced religion reporters pointed those discrepancies out had approximately zero impact on the film's reception.

The Passion looms over F911 in another way: Weinstein and Moore are demanding a King of the Jews' ransom for the right to distribute a film that could hit the box office like The Second Coming.

[via Greencine]

Since 2001 here at greg.org, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting greg.org that time.

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first published: May 27, 2004.

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