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Discerning Obama's America
Discerning Obama's America

Ideological political documentaries in election years are nothing new. A few have crossed the threshold to box office success, but most are lost to obscurity. Anyone remember 2004's Going Upriver: The Long War of John Kerry?

Al Gore found a recipe for success in 2006 with his Academy Award-winning An Inconvenient Truth. Michael Moore has made a name for himself with a series of films that extol liberal themes and uncover alleged conspiracies. Moore's biggest blockbuster, the 2004 release Fahrenheit 9/11, was a scathing indictment of George W. Bush's foreign policy that grossed $119 million in theaters.

This year, the tables have turned, and a conservative documentary is raking in the dollars. The unlikely source is Dinesh D'Souza, who recently moved from the world of conservative think tanks to the presidency of a Christian college.

D'Souza has built a career writing ideological and polemical books and sparring in debates. A public intellectual who is quite gifted in his craft, D'Souza is a sharp and pointed writer who makes forceful arguments. He also knows how to evoke strong reactions and capture attention.

D'Souza is more polished than Michael Moore and makes smarter arguments, but he borrows many pages from the controversial liberal filmmaker's playbook. D'Souza follows Moore's formula by releasing the film in an election year and tailoring his message and emotive appeals to draw a particular ideological segment of the electorate.

Like Moore, D'Souza makes himself the central figure of his film. Not only does he narrate the film, he portrays himself on an intellectual journey that he invites the audience to share. As he presents his rather inventive retelling of Barack Obama's life story, he offers up his own life as a counter-narrative to Obama's.

My central concern about this film (a concern I share about Michael Moore's documentaries as well) is the blurring of facts and opinion to create powerful emotional appeals. The label "documentary" suggests non-fiction, but in reality such films often cross genres. D'Souza presents many facts in the film, but he intertwines these facts with conjecture, telling us some of the "who, what, when, and where" with the same authority with which he offers his version of the "why."

Those who want to check the facts will find some inaccuracies and incomplete information. But much of what the movie communicates cannot be confirmed or repudiated. D'Souza writes a narrative; he crafts a story and makes inferences that we can't verify. He offers his opinion, outlines some facts, introduces the audience to some scholars who share his views, and intertwines this content with visuals and a swelling score that help viewers connect the dots.

And herein lies the problem. As Christians, we need to test the truth of claims, both the facts that are stated and the message that is implied. In a word, we need discernment.

Consider one representative example from the film. D'Souza notes that upon assuming office, President Obama returned a bust of Winston Churchill to the British government. As D'Souza explains on his blog:

That bust now sits in the home of the British ambassador. The film explains Obama's hostility to Churchill by noting that he was a champion of colonialism and ordered a crackdown on an anti-colonial rebellion in Kenya in which Obama's father and grandfather were both detained. So we know what Obama did, and we know why he might have wanted to do it.
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