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I’ve no great affection for Michael Moore, thanks to an unfortunate run-in a couple of years back,
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http://jimi-webdesign.com/members/home, but it’s hard not to be baffled at the level of abuse he faced last night when it emerged that he’s suing fellow salad dodger Harvey Weinstein over profits from the 2004 documentary Fahrenheit 9/11.
So it goes, in the snake-pit that is Hollywood. But judging from the outpouring of anti-Moore bile on comment boards of entertainment websites such as Deadline Hollywood,
pandora sets sale, which covered the story here, the rotund film-maker is guilty of awful hypocrisy by calling in lawyers in the first place.
Critics – using pharases like “big fat hypocrite liberal,” “tiresome bore” and “crap spewing socialist” – argue, in forthright terms,
http://eudominei.com/blog.php?user=ghkham3w¬e=149798, that Moore forfeited any right to sue anyone, ever, by making documentaries that espouse a left-wing point of view.
Arguably, if Moore feels that he’s been diddled, then it would have be more hypocritical of him NOT to go after the person responsible than to do what he’s done. But hey-ho. Whatever you think of the man, it’s a fascinating lawsuit,
pandora bracelets sale, which he’s perfectly entitled to bring. And I look forward to seeing it jazz up the Hollywood news pages for many weeks and months to come.
Critics have blown further smoke with the claim that, by going after Weinstein, Moore is somehow greedily betraying his long-cultivated image as socialistic “man of the people.” That argument is also baloney: in the battle with Weinstein, Moore is the little guy. His opponent is the big beast.
The lawsuit, filed in LA Superior court,
pandora bracelets, can be read in full here. In a nutshell, Moore (left) claims he was underpaid roughly $2.7m in back-end profits from the film thanks to come creative accounting from Weinstein, who distributed it. Harvey vehemently disputes this. The matter will now be argued over by lattorneys,
http://videoresume.com/film-club/use...s-article5423/, and either settled or thrashed-out (at further vast expense) in court.
This is, to put it mildly, is balls. For starters, Moore’s critique of capitalism, particularly in his most recent film Capitalism: a Love Story is not that it exists per se, but that it exists in an unbridled form which allows innocent people to be exploited. Since Moore feels here (rightly or wrongly) that he is an innocent person who has been exploited, he is perfectly entitled to seek redress.
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