Michael Moore’s latest movie, Bowling for Columbine, is a must-see. Moore does an excellent job of connecting the military-industrial complex, in particular, Lockheed Martin, to the violence in this society, to the same complex’s propaganda machine called “TV News” and to the repeal of welfare, also known as the most vicious, racist, bipartisan (Democrat & Republican) attack on the workingclass of the 1990s, that continues to this date.

Michael Moore makes it clear with his membership in the National Rifle Association that he supports the Second Amendment, although it is not necessary nor desirable to be a member of the NRA to support the Second Amendment, guaranteeing our right to self defense, as well as the rest of the Bill of Rights.

The contrast between Moore’s attitudes and that of the rich old fascist actor, Charlton Heston, are very clear and Heston deserves to be put on the spot, as he was in this movie. While Moore’s movie makes it clear that the private profit system is to blame for the gun violence at home and perpetrating war abroad, Heston immediately gives a racist reason, our “ethnic mix,” for the reason for gun violence in the US, demonstrating that rich parasites like Heston are the primary promoters of racism as they benefit from it.

Dick Clark, the hard-boiled, rich old dance man, also deserved to be put on the spot for being a beneficiary of tax breaks that allowed him to hire welfare to work people at poverty wages at one of his businesses.

Michael Moore connects the dots between Lockheed Martin, which employs thousands of people in Littleton, Colorado, the scene of the Columbine High School shootings, to the US war machine, the father of one of the shooters being a member of the Air Force who participated in the Persian Gulf Massacre of 1991, to Democrat Bill Clinton’s bombing of Kosovo the same day as the Columbine High School shootings, and to Lockheed’s participation in the franchise that sends people to low-paying jobs and cuts people off welfare.

My favorite scenes were the pictures of US imperialism in recent history: The CIA in Iran in 1953, the CIA in Guatemala in 1954, the CIA in Chile on September 11, 1973, the CIA in Panama supporting the drug pusher Manuel Noriega until Noriega decided not to cooperate, the CIA in Nicaragua funding the contras from 1979 to 1989, the CIA funding of Sadaam Hussein in Iraq’s war against Iran in the 1980s, and the CIA funding of Osama bin Laden to fight the Soviet Union in Afghanistan in the 1980s.

Moore also did a good job of exposing the corporate criminals, such as those who produce the pollution which make it impossible to see the Hollywood sign from Florence and Normandie, an intersection made famous during the police riots of 1992 in Los Angeles. We see that the intersection is normally a safe intersection, no different from most urban streets. In fact, it looks far more prosperous than the Flint, Michigan streets we see in the movie.

It is a shame that Moore did not treat the 9/11/01 events as the Reichstag Fire that they were, but that is another movie. He has publicly questioned the government’s story, which simply does not make sense. In any event, he hardly refers to that day in this movie.

Moore takes us to Canada, where gun ownership is very high, yet there is very little gun violence and people leave their doors unlocked. The population is also ethnically diverse. The people of Canada are interviewed and tell us that they put human needs first, such as promoting a national health care system.

Throughout the movie, we see various presidents, Democrat and Republican, and various newscasts promoting fear and racism so people will support their anti-workingclass, pro-war agenda, which only makes the rich richer and the rest of us poorer.

Michael Moore’s class consciousness comes through loudly and clearly, and that is the very best part of this movie. Go see it as an act of solidarity with the people of the world against the war machine and to demonstrate that we want peace.

To keep up with Michael Moore’s productions, see:

http://www.michaelmoore.com/