"Capitalism: A Love Story"

By: Matt Duncan
Coastal View News

“Capitalism is an evil,” says Michael Moore, “and you cannot regulate evil.”

Capitalism, an evil? We might have been inclined to go along with “Guns are evil,” “George Bush is evil,” and maybe even “Private healthcare is evil,” but surely we cannot so slander our beloved friend, capitalism. The economic superiority and moral uprightness of the free market is simply a given, right? Not so, says Michael Moore.

America and capitalism are what Forrest Gump might have said are “like peas and carrots”, and for this reason, “Capitalism: A Love Story”—a blistering criticism of all things free market—is Moore’s boldest and most ambitious project to date. It’s bold, but not great. It is emotionally stirring at times, but because capitalism is itself such an elusive concept for Michael Moore, his movie is unclear, unfocused, heavy on emotional conclusions, and light on damning premises.

“Capitalism: A Love Story” sputters out of the gates with several disjointed scenes and interviews that are only loosely connected. Moore interviews families being thrown from their homes and zooms in for shot after shot after shot of tear-stained faces and boarded-up shanties. Moore compares America to ancient Rome, drawing parallels between the social factors that led to Rome’s downfall and the milieu that now characterizes American society: too much greed; too great a divide between the rich and the poor.

While there is no tight working definition of ‘capitalism’ provided by Moore, there is the impression that ‘capitalism’ loosely refers to something like greed, the privilege of the few at the expense of the many, or maybe just meanness. As per usual, Moore attacks the system-“the Man” if you will—through a witty combination of emotional instances and conspiracy theories, all set to bouncing, ironic music.

For all of its initial flaws, “Capitalism: A Love Story” picks up some steam, interest, and credibility as Moore casts the financial elite as a corrupt aristocracy. He cleverly juxtaposes capitalism not with socialism or communism, but democracy. For Moore, the real tension is between two basic American ideals: liberty and equality. On the one hand, Americans are attracted to the personal liberty espoused by capitalism because they want to think that they have the freedom to make it big, to rise above their respective classes, to live the American dream. But on the other hand, there is also the moral compass of America that seeks to provide adequate conditions for all. We believe that everyone should have equal access to happiness and security.

We can’t have it both ways, claims Moore. We can’t obtain fabulous wealth for ourselves while at the same time providing adequate conditions for all. Thus, the tension between liberty and equality. Of course, Moore thinks that the so-called economic liberty provided by capitalism is, in reality, a sham. According to Moore, the reason we allow investment bankers and Wall Street whizzes to make it rich while hard working families are kicked to the curb is because we like the idea that someday we could be rich, on top of the heap. But this is an illusion, claims Moore, because the simple fact is that the rich get richer and the poor get poorer.

For those viewers who are not already inclined to believe Moore’s conclusions, “Capitalism: A Love Story” will be nothing short of exasperating. As is usually the case, Moore’s premises are aimed at the gut, not the head. He uses public outrage to egg his audience on; he is the trumpeter of discontent, a sympathizer, a rabble-rouser. Moore tells people what they are mad at and then makes them madder at it, all without making a clear connection between their woe and his ill-defined object of hatred.

For those viewers who are inclined to believe Moore’s conclusions, “Capitalism: A Love Story” will no doubt be a moving rally cry. For those who have the feeling that the problem really is systemic, this film provides emotional punch. For these folks, Michael Moore is in their corner; he is their champion.

But whether you are a capitalist, socialist, anarchist or communist, it is clear that “Capitalism: A Love Story” could have been better. It could have been more penetrating and focused. It could have more coherently dealt with the connections between our current economic troubles and capitalism as an economic system. But that’s not really Michael Moore’s style, so take this movie for what it’s worth.