Michael Moore’s Fahrenheit 911 is a propaganda documentary that aims to discredit the judgment and leadership of President George W. Bush by combining facts, often not well known by the American public, and emotions. The facts deal with how Bush was “elected,” his passivity during and immediately after the events of 9/11 (when, we have recently learned, Vice President Cheney acted instead), the effort to fly members of the Bin Laden family and other Saudi business associates of the Bush financial empire out of the country while commercial flights for ordinary citizens were canceled, post 9/11- fearmongering about supposed terrorist threats, and then focuses on the absurdities and barbarities of the war on and in Iraq. The star of the film is not Moore but instead Lila Lipscomb, a Flint, Michigan, mother. Once proud that her sons had in the past engaged in military service, the recent death of her son in Iraq brings home the perception that he died for a cause that neither he nor she nor the American people nor even Moore can possibly admit–profits and votes for those who cynically make or allow war while sacrificing unemployed youth who are neglected by the American economy. One week before Fahrenheit 911 was released, a more modest documentary, Control Room, began to present perhaps an equally powerful message with a narrower theme–how the American military has shamefully managed news about the Iraq war. The focus is mostly on the Al Jazeera television network, which is beamed to forty million Arabic-speaking viewers, but also includes footage of the American media and media personnel. Insofar as a documentary seeks success, providing both sides of an argument may be a requirement. Fahrenheit 911 falls short on that test.