Review: “Capitalism: A Love Story” by Michael Moore
I am not a big fan of Michael Moore’s work. This isn’t because of a big difference in political outlook, but rather, it’s because he suffers from a condition endemic in Hollywood: a tendency to oversimplify. I do understand that the market he is trying to reach generally require more punchy messages than complex facts, but it is a penchant of mine to prefer the latter to the former.
That said, I had read a number of positive reviews of his latest work, “Capitalism: A Love Story”, which suggested that I should take a second look. I also thought that the discussion of a theme as broad as our present economic system perhaps would be more conducive to the type of film Moore likes to make.
Early indications were good: Moore unearthed a clip from a 1950′s documentary regarding the fall of Ancient Rome. The narrator described the factors which led to its fall: a widening gap between rich and poor, a lack of suitable employment for the unskilled, the deployment of violent spectacle in order to distract the populace, and the concentration of power into the hands of an elite. As if these similarities weren’t jarring enough, Moore interspersed pictures of modern Washington and today’s television programmes in order to drive the point home. Moore then delivered another killer blow by showing a forcible eviction occurring in Lexington, North Carolina: thanks to the evictee possessing a video camera, we see the view from the inside as well as out. The pounding on the entrance by what looked like half-a-dozen officers, then the final taking of the door off its hinges was horrific: but again, the point is clear, this is what recession in America looks like, in all its gruesome detail.
Moore’s penchant for oversimplification reared its head soon afterwards: he described a “Golden Age” of capitalism, i.e., the period during which he grew up. While he accurately mentioned that the wealthy paid a 90% tax rate, he ignored the entire global system which had been constructed to maintain the economic order: he never mentioned Bretton Woods (I take it that John Maynard Keynes isn’t on Moore’s bookshelf). Nor was the subsequent collapse of Bretton Woods mentioned; the oil shocks and rise of inflation were also ignored. Rather, we jumped to a powerful and relevant speech by President Carter in which he stated that consumerism was undermining human identity.
The film was at its best when sticking to particular narratives. I was utterly horrified by his expose of a case in Pennsylvania in which a privately run youth detention centre had made an arrangement with a couple of corrupt judges. The officials agreed to funnel almost any young offender into the “care” of the centre, both sides thereby making massive profits in the process. Even more appalling were the stories which described “Dead Peasant” insurance; apparently, companies take out life insurance out on their employees with the firm as the beneficiary. In some cases, it is indeed to the company’s good if their employees die. A bereaved wife found out that her husband’s employer made $5 million out of his death from cancer; a former Wal Mart employee found out that the company made $81,000 when his wife died due to a severe asthma attack.
Having established that capitalism leads to immoral and depraved behaviour, as well as wrecking neighbourhoods across the United States, Moore failed to land a knockout punch: as a number of academics including David Harvey have stated, capitalism (at least in its present form) simply doesn’t work. Moore was right to highlight the complexity of derivatives and show modern finance as being little more than a glorified casino. However, he missed out on how Merck nearly was wrecked by producing Vioxx, a drug it had to withdraw: this was a consequence of an innovation model which no longer works in a era of diffuse information. He also seemed to suggest that the collapse of the financial system was an elaborate swindle: not quite. Moore may not have been aware of Harvey’s calculation that for capitalism to endure that it has to get 3% return, year on year, but the opportunities to achieve that are becoming more and more limited. As a result, capital is attracted to fictions which eventually detonate; we are living in a “post-detonation” period at the moment. The environment also received no mention in Moore’s film; it’s all very well to be nostalgic for a previous era, but even that way of life couldn’t endure simply because the earth can’t take it.
A final oversimplification was Moore’s referral to the “rich”. It’s difficult to take this broad brush description too seriously as Moore isn’t precisely poor himself, though he did his best not to let on. It also failed to make a distinction between the Lloyd Blankfeins of this world and say, the Andrew Carnegies: as much as the latter was a “robber baron”, at least he produced products that people wanted, and left behind educational (Carnegie Mellon University) and cultural (Carnegie Hall) institutions which persist to this day. What can certainly be said is that the parasites do outnumber the benefactors at the present time: however Moore didn’t say this, and it blunted some of his argument.
Moore seems to hope that the election of Barack Obama was a significant political moment, and that somehow Franklin Roosevelt’s agenda for a “Second Bill of Rights”, which had full employment and health care at its core, will be fulfilled. While there have been steps in the right direction, given the presence of people like Larry Summers and Tim Geithner at the heart of government (who Moore rightly castigated), this hope seems somewhat forlorn. But as ever, it was individual stories which made the film sparkle: Obama may not represent a turning point in and of himself, but the tale of the sit-in by the workers at Republic Windows and Doors in Chicago certainly showed that the boundaries of possibility have been extended by Obama’s election. Indeed, this one tale may represent the best of Moore’s film and his message: it is not necessary to accept things as they are. Given a bit of leverage and a willingness to say “no”, the world can indeed shift.

So David Laws, Chief Secretary of the Treasury, is gay. The revelation was exploded forth by the Telegraph and has all the appeal and grace of a Friday night expulsion of cheap lager from the guts of a inebriated teenager. There are already rumours circulating around the internet that Alistair Campbell, New Labour’s chief bile merchant, is responsible: if so, this would hardly be a surprise. There is a grubbiness, a griminess that surrounds this entire episode which speaks of New Labour’s once formidable spin machine. It says much that after its defeat, it is reduced to spewing tawdry gossip.
About two years ago, the term “coping classes” came into vogue to describe a set of people who were ostensibly middle class, yet felt squeezed by the prevailing economic circumstances. The term has since fallen out of use; such is the fate of many media inspired catch-phrases. I myself wondered what precisely was meant by “coping classes” at the time: when the articles were penned, I was in a well-paid job, my finances seemed reasonably secure, credit was more-or-less available. Yes, the economy was in trouble and I was worried about it; that said, it seemed churlish to complain too much given my relative good fortune. However, given the dawn of our new, more austere era, I wonder if it is time for the term to be resuscitated.
The budget cuts have already hit close to home. Prior to the election, Gordon Brown and his minions had promised my university a large share of a £30 million grant in order to set up a high-technology research institute. Everyone here was elated. It was announced far and wide. However, the cheque hadn’t been signed prior to May 6; thus when the Chancellor and the Chief Secretary of the Treasury had to make choices, they had no problem rescinding the funding. I have not yet spoken to the academics affected, but my understanding is that they are naturally livid. In any case, there will be a prevailing sense of gloom hanging over higher education until we know the full extent of the cuts: this is going to be ugly and painful. It’s impossible to forget that what has been announced so far represents less than 10% of the structural deficit: a lot more horror is on the way.
The Royal Family has rarely been the focus of my attention. To me, they’re rather like the colour of paint in some public buildings: the unconvincing shades of green or beige may be distantly unpleasant, but at the same, they’re not glaring enough to make me grab a can of white Dulux and a brush. Perhaps we should thank the Duchess of York for being so outrageous that she has made the Monarchy a topic worthy of scrutiny once more.
I’ve been reliably informed that around about the time of Gordon Brown’s departure from Downing Street, a rainbow briefly appeared in the skies above Westminster. I haven’t seen a photograph or a video clip of the phenomenon, yet I believe it. Whether one has faith in a diety or not, it doesn’t stretch matters too far to suggest that there is a natural order which works towards achieving an equilibrium: a hint from circumstance or the weather is perhaps a perceptible outcome of this cosmic balancing act.
In retrospect, the formation of the Coalition Government was probably inevitable. The mathematics largely dictated this outcome; however the situation was exacerbated by Labour’s ineptitude. It should have been obvious that a “progressive alliance” was not going to happen once it became clear who was negotiating on Labour’s behalf. First and foremost, there was Lord Mandelson, who has many gifts, but a description of whom as an “honest broker” or “trustworthy negotiatior” can only elicit rueful laughter. Additionally, Ed Balls was on the team; to describe him most accurately, it can be said that he is sort of a younger, English version of Gordon Brown, except he lacks Brown’s charm, wit, intellect and anger management skills.
I'm a Doctor of Creative Writing, a son, a brother, a boyfriend, a published novelist, a technology enthusiast, and still an amateur in much else.



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