A Cinematic Catalyst for Change
SiCKO is sensational. It’s perhaps the best movie Michael Moore has ever made. Granted, there will be those who view his anti-gun screed Bowling for Colombine as his most heartfelt effort (it did earn him an Oscar for Best Documentary) and now that the firestorm has died down, and the winds of change are basically blowing in his direction, Fahrenheit 9/11 looks more and more like a prescient populist prophecy. But those two amazing movies, along with the retro-reactionary Roger and Me and the rest of his confrontational canon really pale in comparison to this detailed dissection of the American Heath Care system. Looking at the problem from both the inside out and the international inward, Moore manages to do what his previous films have failed to accomplish. SiCKO, more than any other movie he’s made, is guaranteed to provide a cinematic catalyst for change.
Don’t think so? Unsure that people will rise up to challenge the substandard status quo of insurance coverage for the US population? Well, just remember this. A film is forever. Mock its methods or question its facts, but once it takes a stance, that statement is set in celluloid stone. From then on, it is up to others to redirect the dialogue, to challenge its veracity and pick apart the particulars. But at the end of the day, after all the agenda-based attacks and website scrutinizing, Moore will have delivered the first AND last word on the subject. And since the enemy he picks is well known and hated by a vast majority of the paying populace, it will survive the government threats, the industry lawsuits, and the brazen backlash from dozens of self-styled experts. In turn, Moore’s version of reality will become the JFK of the HMOs. The essentials may be specious, but the overall message is right on goddamn target.
During the film’s clever opening, we see immediately where Moore is going. He discusses the case of two people sans insurance, and immediately tosses their frightening fate aside. We can’t deal with this issue, you can hear the filmmaker thinking, it’s too much of a common man slam dunk. Instead, the focus of SiCKO is on people who actually have coverage, and how said supposed security blanket is actually a lifestyle (and life) threatening ruse. We get testimonials from individuals who’ve lost loved ones thanks to seemingly random decisions by blank corporate facades, and then Moore turns around and puts a mug onto those crass kill(er)joys. It’s this material that’s the most fascinating in SiCKO. Everyone has a horror story about being denied in a time of crisis, but when do we ever get to see the person behind the decision. Granted, these former insurance company workers are all miserable and overflowing with mea culpas. But no amount of forgiveness can erase the dollar oriented disasters that lay in their wake.
Throughout this initial half of the film, Moore sets up the first of his two main themes—that insurance companies are in it for the money, not the health care management. The resounding ‘D’uh” following said sentiment should argue against his success as a pundit. But Moore knows movies, and he understands that the right story can sidetrack an entire library of statistics and consulting reports. Thus, he presents the Smith family. Amiable, hard working, and dedicated followers of America’s Middle Class dream, we watch as Mom and Pop Smith are devastated by several personal problems (him—heart attacks, her—cancer) and slowly swallowed up by the bureaucratic bankruptcy of the system. The co-pays and deductibles, let alone the financial reality of dealing with six kids of their own, sends them into a downward spiral of money problems. Eventually, they must sell their home and move into a cramped basement computer room (with bunk beds!) in their daughter’s home.
Like the scene in Roger and Me where a kind-hearted sheriff’s deputy dispossess a distraught family, watching real people suffer in a ‘there but for the grace of God go I’ manner is the most effective way of getting your point across. This is not an issue of mismanaged funds or individual liability. The Smiths bought into a system (paid into it, actually) that never intended to indemnify them come crunch time. Imagine—your car insurance suddenly stops taking effect right in the middle of a post-accident repair job. Your life insurance annuity ceases paying at the discretion of the company, not the contract. You sign up for disaster insurance before boarding a plane, and as the engines start to fail and the stewardesses shout out final instructions, the head rest phone rings. It’s your company, suddenly cutting off your coverage as a ‘potential risk’. Along with the other examples he provides in this section, Moore’s makes SiCKO a strong case for massive corporate reforms.
But what’s the model we should use? Which countries have the best universal coverage—or at least, in Moore’s opinion, put the American system to shame. The answer to this question composes the second half of SiCKO, and will probably be the sequence viewed with the most cynicism. Providing us a USA-ridiculing walking tour of the Canadian, French and British health care arrangement, Moore plays dupe to a bunch of everyday citizens who can’t imagine living in a country that doesn’t provide some manner of socialized medicine. Our intrepid reporter asks the same question over and over again—“what did it cost you?”—and the look of disconnect and confusion on these foreigners’ faces is classic. Time and time again, the answer is “nothing”, and Moore mimics their disbelief by wondering “what’s the catch”. Well, exploring said specifics and restrictions is not what SiCKO is on about. Again, the big picture is important here. No matter what it says in the fine print, almost every industrialized Western country has some form of universal health coverage—except the US.
Of course, the devil is always in the details, and there will be those who harp on minor misconceptions and abject realities as a means of trying to deflate SiCKO’s strategies. Unfortunately, said potshots won’t make the movie any less entertaining. The reason people will pile on this film has nothing to do with its ideas and everything to do with its effectiveness. If Moore was a moviemaking incompetent, unable to maintain a level of interest in what is an inherently intriguing idea, then his efforts would tour a few underground film festivals and that’s it. But people will be lining up to learn the lessons this director wants to discuss, and it’s the intrinsic draw of film that has opponents flummoxed.
If Moore was inherently wrong with what he puts out in SiCKO, that would be one thing. He’s not using one or two rare instances to make a gross overgeneralization about the US Health Care system. Instead, he is avoiding the 10 or 20% of satisfied citizens to focus on the far more prevalent problems. It’s not a question of balance—if 10 people out of 100 get good, trouble free service, representing their viewpoint does not provide equilibrium to the situation with the other 90. Neither does pointing out the number of areas where America beats the rest of the world in medical technology. Saving lives is one thing. Having access to the science that does such rescuing is the issue at hand. It is conceivable that the citizens of the countries Moore champions would have varying versions of their socialized medicines success. But complaining that problems exist in an arguably imperfect system is like saying an inexact science is wrong now and again. Besides, what’s more important—the fact that everyone is covered, or that when such universal coverage is in place, flaws are inevitably found?
There will be those who cannot forgive his histrionics, who see him standing on Cuban soil, chronically ill volunteers from 9/11 in tow, calling over to Guantanamo Bay and asking for the same health care that we are giving to the terrorists, and complain about the obvious exploitation. Others will attack the man and consider it a criticism of the movie. But in a nation of apathetic arrogance, that has begun to believe much of its own hyped hubris, SiCKO needs to be seen. It does the two most potent things any successful screed can—it enlightens while it entertains. In addition, it sets the tone for the rest of the debate, providing proof against all the industry apologists while offering potential solutions, no matter how suspect. It’s what any good discussion should encompass. It’s also the foundation for any masterful film…and SiCKO definitely falls into that category.