Controversial filmmaker Michael Moore is making his way to Popejoy Hall Tuesday. In honor of his visit, "Bowling For Columbine," "Roger and Me" and "The Big One" will be showing at the Southwest Film Center this week.
Moore's creative genius won him an Oscar in 2002 for "Bowling for Columbine." The documentary harshly criticizes the National Rifle Association for its refusal to set ample restrictions on gun ownership laws.
Moore's less recent work "Roger and Me" (1989) also makes a political statement, by revealing the apathy of Roger Smith, chairman of General Motors.
Both works exemplify a rare, candid poignancy and reveal Moore's talent for investigation and insight, rare in a system where media often focus on a sugarcoated reality. Moore delves deeper than the surface of this reality in his films, making him a heroic and revolutionary director.
"Roger and Me" was mostly filmed in Moore's hometown, Flint, Mich. The film captures the town during the '80s, a time when economic misfortune was the result of GM closing 11 factories in its founding state. Thousands of people lost their jobs and many were forced from their homes when they couldn't pay rent. Throughout the film, Moore makes a whole-hearted attempt to locate corporate monger Smith, the man he feels is responsible for the detriment of these families. Moore's goal was simple - he wanted to have Smith spend a day speaking to the families that lost their jobs at the plant.
Unfortunately, Smith was always too busy or too hard to find. The film constructs a clear picture of the relationship between the upper class and working class. It depicts the instability of big business and it's control of the working class.
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"The Big One" is a commentary on Nike's labor practices overseas. Moore had a last-minute interview with Phil Knight, Nike's chairman. Debate and controversy are not foreign ideas to Moore, so he probably wasn't surprised when Nike tried to negate the validity of this film by posting a Web site called, "On the Cutting Room Floor: scenes you won't see (but should see) from Michael Moore's 'The Big One.'"
"Bowling for Columbine" is beyond its time as far as documentary filmmaking is concerned. With profound cinematography and a myriad of moving imagery, the film surpasses its duty to inform and incites a call to action.
As the title indicates, the movie references Columbine, Colo. and the tragedy that took place in the late '90s when two students went on a shooting spree at Columbine High School.
Moore hypothesizes that if stricter gun laws had been in place, this and other gun tragedies could have been prevented. Moore challenges the NRA and demands an explanation for the kids' access to guns in the first place. In this film, Moore seeks out former NRA honcho Charlton Heston for answers.
When Moore eventually finds the shaky old-schooler, Heston gives the answers Moore seeks, but by this time, they're answers the viewer doesn't want to hear.
Moore condemns the violence that exists in America and questions the paranoia that has consumed so many of its citizens. Perhaps, as Moore suggests, the reason for the paranoia is fear caused by fabrications in the media. In its brilliancy, the film serves to counter these fabrications, and offers the real story.
