Democrats Warm To ‘Fahrenheit 9/11’

After more than a week of round-the-clock Reaganolotry, New York was so ready for the rollout of Michael Moore’s Bush-bashing movie. I mean really, really ready. There was such demand to get into a small screening at the Beekman Theatre on Monday night that executive producer and host Harvey Weinstein moved the celebrity crowd to the thousand-seat Ziegfeld Theatre. This was a canny PR move. There was only a one-week frenzy window between Gippermania and the pending Clinton memoir, and Weinstein flew right through it.

Disney’s refusal to distribute “Fahrenheit 9/11” was a perfect ploy to dramatize one of Moore’s favorite themes, the suffocating power of big media. Attempted suppression is a promotional must these days. Bill O’Reilly’s lawsuit put Al Franken on the bestseller list. The distributors who ran away from Mel Gibson’s “The Passion of the Christ” made him a miracle worker at the box office. Now we have the Moore/Disney psychodrama. We have gone from the marketing Calvary of Christ to Michael Moore’s Messiah complex.

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