Expect a 20-minute barrage of French-bashing jokes from Rush Limbaugh come Monday morning. 
Yeah, those are really obscure movies: **Pulp Fiction, Taxi Driver, The Piano, Barton Fink, Paris, Texas, Sex Lies and videotapes, Apocalypse Now. **
Your point again?
From the New York Times article about the Palme d’Or:
"[Moore] also said that Mr. Tarantino had assured him that the political message of “Fahrenheit 9/11” did not influence the jury’s decision. “On this jury we have different politics,” he quoted Mr. Tarantino as saying. It is also a film financed by Miramax, which distributes Mr. Tarantino’s movies.
Mr. Moore noted that four of the nine jurors were American: Mr. Tarantino, Kathleen Turner, the director Jerry Schatzberg, and the Haitian-born novelist Edwidge Danticat. “I fully expect the Fox News Channel and other right-wing media to portray this as an award from the French,” Mr. Moore said. Only one juror, the actress Emanuelle Béart, is a French citizen.
“If you want to add Tilda,” he said referring to the British actress Tilda Swinton, “then you could say that more than half came from the coalition of the willing.” (The rest of the panel was made up of Benoit Poelvoode, a Belgian actor; Peter von Bagh, a Finnish critic; and the Hong Kong director Tsui Hark.)
I saw Bowling for Columbine and I was really floored by it, but the questions about what Moore editing and such have tempered my feelings. If this is a more fact-based documentary, so much the better (since I’m sure I’ll see it anyway).
A lot of the questions I’ve seen raised by BfC’s critics are far more “creative” than any of the editing Moore did in the movie. There are some valid criticisms to be made of some parts of the film (like that bit with the photo of the little girl – yeesh), but not as many as some would have you think. And one thing I think many of the film’s detractors have failed to give Moore credit for is his unwillingness to go for the easy answers or to see only what he wanted to see. It’s clear that Moore had certain theories going in, like high rates of gun ownership being a primary cause of America’s high rates of gun violence, but he shows that the evidence didn’t support them. So although I have a few issues with the film I have to respect BfC for being brave enough to admit that it doesn’t really have all the answers.
True. I’m not saying I buy every criticism, some are silly (and insist on taking satirical or metaphorical bits literally, for example). I always wonder about just what you mentioned, though: Moore says it’s not gun ownership itself that’s the problem, which is what conservatives have said for years. But I guess that gets washed out by other things.
I didn’t know if the mods were going to, so I did it.
http://boards.straightdope.com/sdmb/showthread.php?p=4888397#post4888397
(chique, I’m a she )
Moore-bashers use the editing point to tryt and discredit the whole movie. I saw the movie and I notivced the editing right off, but you’d have to be stupid to think it was all supposed to be a contiguous event. (the bank, Heston’s speeches etc.)
speaking of Heston, it’;s funny how most tightie righties write off the opinions of “Hollywood liberals” but take Heston’s words as, pardon the pun, gospel.
I dunno… While I don’t agree with the way some previous posters expressed it, I do agree that I’m a little uncomfortable with assuming that the film is good just because it won. I mean, maybe I’m being cynical, but I can see a work that’s good, but somewhat inferior to the rest of the pack, being rewarded for expressing a currently (very) popular political view… I’d have to see it before I “assume” it’s actually worthy.
I think that the winner of Cannes tends to usually be somewhat of a groundbreaking film, in one sense or another, as opposed to the Oscars where it’s basically back slapping. And a good movie will stir debate, whether or not you agree to its message. Thank God there are still people like Michael Moore that are willing to take a risk and overcome huge obstacles (i.e. the government) in order to create (let’s not forget), art.
I can’t wait for this movie
Emmanuelle Beart is french. And a great actress, by the way.
That’s one.
I’ve seen eleven of them, and I’m really not a cinephile. However, two of thoses I found extremely boring : Elephant and Barton Fink (watching Barton Fink was the only time I fell asleep in a movie theater. My then girlfriend told me what I had missed when I awoke, then she fell asleep)
I apologize. I thought she was lumped in with the Americans in that list.
Pardon me while I find out who the heck Edwidge is and where he’s from…
Be truthful. You didn’t read the list did you?
I read the list in the OP. It’s rather hard to miss.
O
K.
It’s a woman, but I didn’t know that before I looked her up either. Edwidge Danticat is listed as a writer, but her IMDB listing doesn’t show any movie that she’s done. She only has one credit, and that’s as an actress (“One of ‘The Thirty Women’” in Beloved). Oh, there’s also a credit of her playing herself in a program called Yari Yari: Black Women Writers and the Future.
I’m pretty sure I met Benoît Poelvoorde. He won Best Actor for The Carriers Are Waiting at the 1999 Chicago International Film Festival, and I worked at that one. I wish I could remember. It was all a blur and I met so many people. I know I hadn’t seen Man Bites Dog yet, or else I definitely would have remembered. He’s unforgettable in that.
I looked up Jerry Schatzberg because the name wasn’t familiar. Here’s his IMDB resume:
Day the Ponies Come Back, The (2000)
… aka Day the Ponies Come Back, The (2000) (France)
Lumière et compagnie (1995)
… aka Lumière and Company (1995) (International: English title)
… aka Lumiere y compañía (1996) (Spain)
Reunion (1989)
… aka Ami retrouvé, L’ (1989) (France)
… aka Wiedergefundene Freund, Der (1989) (West Germany)
Clinton and Nadine (1988) (TV)
… aka Blood Money: The Story of Clinton and Nadine (1988) (TV)
Street Smart (1987)
No Small Affair (1984)
Misunderstood (1984)
… aka Ultimo sole d’estate, L’ (1984) (Italy)
Honeysuckle Rose (1980)
… aka On the Road Again (1980) (USA: reissue title)
Seduction of Joe Tynan, The (1979)
Sweet Revenge (1976)
… aka Dandy, the All American Girl (1977) (USA: TV title)
Scarecrow (1973)
Panic in Needle Park, The (1971)
Puzzle of a Downfall Child (1970)
The only ones I’ve seen are No Small Affair and Panic in Needle Park (a great early role for Al Pacino), though I’ve heard of some of the others (Joe Tynan, Lumière and Company, Downfall Child).