During the capital system that has been created and spread in America during a specific time when many people of the Middle and lower classes suffer from poverty and lack of financial and health care, as the only profited of that system is the high class and corporations owners. This documentary chronicling the lifestyle during that system.
This isn't just about pointing fingers at those who have gotten us into this mess, but about mobilizing working people to stop waiting for someone else to fix it, to stop sitting idly by while their wages, pensions, health care, and homes are stolen.
Moore evokes Pope Benedict XVI "Caritas in Veritate" and stresses the need that Judeo-Christian ethics, upon which his country was founded, must play a part in the recovery and stability of the financial sector.
Moore is always visually playful and subversive, and even when dealing with such serious and depressing topics entertaining; but he's also game enough to examine America's mythology of prosperity.
As with all of Moore's films, this is really about the fall of The American Dream, with Moore acting as our tour guide into the rotten core of his beloved country. And once again, his heart is in the right place. If only he could keep his ego out of it.
While it's amusing to watch Moore on camera plaster the entrance to the New York Stock Exchange with crime-scene tape, when Moore goes through his customary security-guard harassment in another segment, it's hard not to think: Here we go again.
Docu on corporate misdeeds names names, makes mistakes.
Globe and Mail
October 02, 2009
As a filmmaker creating a product for a marketplace, supported by profit-seeking investors, he obviously has some comfort level with capitalism in the sense of doing business.
Michael Moore is up to his old tricks in Capitalism: A Love Story, and that's sure to both infuriate, and entertain and inform, depending which side of the Michael Moore fence you stand on.
A lot of the old Moore is still obvious in Capitalism, his genuine belief in everyone pulling together his feel for a good public stunt but he's lost a little something. The social zeal of his best work has been replaced with a hint of fanaticism.
