NEW YORK — When US Senator John McCain took a shot at film maker Michael Moore in his speech to the Republican National Convention Monday night, he had no reason to know that the man who made the controversial documentary “Fahrenheit 9-11” was just a few hundred feet away from him.
But Moore was in Madison Square Garden with McCain and thousands of Republicans who, it would be fair to say, do not rank “Fahrenheit 9-11” high on their list of favorite films.
That was made obvious by the response of the delegates to McCain’s unprecedented targeting of Moore in his prime-time address to the convention.
In a speech that was at once a spirited defense of the war with Iraq and a reminder that he is still available for consideration as a 2008 presidential nominee, McCain earned his biggest applause when he rejected any and all criticism of the Bush administration’s decision to launch a preemptive war against the Middle Eastern country.
“Our choice wasn’t between a benign status quo and the bloodshed of war. It was between war and a graver threat. Don’t let anyone tell you otherwise. Not our political opponents,” the Arizona Republican said, as the crowd began to roar its approval. “And certainly not, certainly not, a disingenuous film maker who would have us believe that Saddam’s Iraq was an oasis of peace, when in fact it was a place of indescribable cruelty, torture chambers, mass graves and prisons that destroyed the lives of the small children inside their walls.”
Moore, who was seated in the press gallery of Madison Square Garden, pumped his fists in the air and tipped his hat to the McCain and the hooting delegates. As the crowd chanted “Four More Years,” Moore used his hand to form an “L” sign to suggest that President Bush would lose in November.
Moore also held up two fingers, recalling a constant theme of the filmmaker this week: That George W. Bush and Dick Cheney have only two more months to go before they are voted out of office.
Everyone in the hall, including McCain and Moore, realized that a rare moment in American politics was playing out. It’s not often, outside the context of a debate, that such charges and countercharges fly in close proximity. Nor is it all that often that a film achieves the level of public awareness that leads a prominent politician to attack its maker in a primetime convention speech. And it is certainly not common for the filmmaker to be in a position to respond in real time.