Admirers of left-wing propagandist Michael Moore who shot a picture about his work called “Manufacturing Dissent” found him less cooperative about being in their documentary than former GM head Roger Smith, whom Moore depicted falsely as being unavailable and evasive in Moore’s award-winning “Roger and Me.” Notwithstanding the fact that Moore patently misled audiences about Smith’s alleged non-cooperation, Debbie Melnyk and Rick Caine still consider the obese multimillionaire “populist” and Jimmy Carter companion something of a hero:
“We’re a bit disappointed and disillusioned with Michael,” Melnyk said, “but we are still very grateful to him for putting documentaries out there in a major way that people can go to a DVD store and they’re right up there alongside dramatic features.”
It sounds as if they’d be grateful to Mark McGwire for “the concept” of breaking Roger Maris’s single-season
home run record, too. Documentaries are supposed to be cinematic depictions of the truth. Of course they never really have been, and still hardly ever are. In fact every photograph, much less every moving picture — which modern people consider the sina qua non of “proof” — is a lie, a choice of framing, lighting, perspective, or worse. The same goes for print and other forms of journalism.
That doesn’t make these endeavors worthless — far from it. But like so much else in our culture, we have to acculturate ourselves to real reality: “Non-fiction,” whether by word, lens or “virtual reality,” is still someone else’s narrative.
Is there any hope for objectivity? Only one: Free expression, of course — the opportunity to contradict the chosen narrative*, to show the unlit angle, to interview the neglected witnesses. The Internet provides that opportunity as never before, so, of course, tyrants fear it. By all means give Melnyk and Caine credit for telling at least another slice of the story, despite how it reflects on a man they have found a way, despite his wretched dishonesty, to admire.
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*Link updated.