Roger & Me is a 1989 American documentary film directed by Michael Moore. Moore portrays the regional economic impact of General Motors CEO Roger Smith’s action of closing several auto plants in Flint, Michigan, reducing GM’s employees in that area from 80,000 in 1978 to about 50,000 in 1992. As of August 2015, GM employs approximately 7,200 workers in the Flint area, according to The Detroit News, and 5,000 workers according to MSNBC. In 2013 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.
Moore begins by introducing himself and his family through 8 mm archival home movies; he describes himself as the Irish American Catholic middle-class son of a General Motors employee assembling AC spark plugs. Moore chronicles how GM had previously defined his childhood in Flint
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, Michigan, and how the company was the primary economic and social hub of the town bogner skikleding 2016. He points out that Flint is the place where the Flint Sit-Down Strike occurred, resulting in the birth of the United Auto Workers. He reveals that his heroes were the Flint natives who had escaped the oppressive life in GM’s factories, including “Flint’s most famous native son”, game show host Bob Eubanks.
Initially, Moore achieves his dream of avoiding factory life after being hired by a magazine in San Francisco, but this venture fails for him and he ultimately travels back to Flint. As he returns (in 1985), GM announces the layoffs of thousands of Flint auto workers, whose jobs will go to cheaper labor in Mexico. GM makes this announcement even though the company is experiencing record profits.
Disguised as a TV journalist, Moore interviews some auto workers in Flint and discovers their strong disgust for GM chairman Roger B. Smith. Moore begins seeking out Smith himself to confront him about the closing of the Flint plants. He tries to visit Smith at GM’s headquarters in Detroit, yet he is blocked by building security as Moore hasn’t made his intentions clear. A company spokesman exchanges contact information with Moore, but ultimately refuses to grant Moore an interview due to fear of negative portrayal. Over the course of the film, Moore attempts to track down Smith at the Grosse Pointe Yacht Club and the Detroit Athletic Club, only to be told either that Smith is not there or to leave by employees and security guards.
From there, Moore begins to explore the emotional impact of the plant closings on his friends. He interviews Ben Hamper, an auto worker who suffered a nervous breakdown on the assembly line and is residing at a mental health facility. From here, to the Beach Boys song “Wouldn’t It Be Nice?”, is seen a montage of the urban decay enveloping Flint, interspersed with news reports about increasing layoffs, residents not being able to move out and rapidly increasing rat infestations. Moore also talks to the residents of the affluent suburb of Grand Blanc, who display classist attitudes about Flint’s hardships; at a roaring twenties-themed party they are hosting, Moore takes note when they hire laid off workers to be human statues.
Moore changes course and turns his camera on the Flint Convention and Visitors Bureau, which promotes a vigorously incompetent tourism policy. The Bureau, in an effort to lure tourists into visiting Flint, permits the construction of a Hyatt Regency Hotel, a festival marketplace called Water Street Pavilion, and AutoWorld, hailed as the world’s largest indoor theme park. All these efforts fail, as the Hyatt files for bankruptcy and is put up for sale, Water Street Pavilion sees most of its stores go out of business, and AutoWorld closes just six months after the grand opening jack wolfskin.
High-profile people are shown coming to Flint to bring hope to the unemployed, some of them interviewed by Moore. Ronald Reagan visits the town and suggests that the unemployed auto workers find work by moving across the country, though the restaurant he visits has its cash register stolen during the event. The mayor pays television evangelist Robert Schuller to preach to the town’s unemployed. Pat Boone and Anita Bryant, who have supplied GM with celebrity endorsements, also come to town; Boone tells Moore that Roger Smith is a “can-do” kind of guy. Moore also interviews Bob Eubanks during a fair near Flint, during which Bob cracks a joke about Jewish women and AIDS.
Moore attends the annual GM’s Shareholders Convention, disguised as a shareholder himself. However, when he gets a turn at the microphone to air his grievances to the board, Smith immediately shuts him out and has the convention adjourned, despite Moore’s attempts to interrupt him. In a close-up of Smith, he is heard joking about his action with a fellow board member before leaving. Meanwhile, Moore meets more residents of Flint, who are reeling from the economic fallout of the layoffs. A former feminist radio host, Janet, joins Amway as a saleswoman to find work. Another resident, Rhonda Britton, sells rabbits for “Pets or Meat”; Britton is featured killing a rabbit by beating it with a lead pipe. Prevalent throughout the film is Sheriff’s Deputy Fred Ross, whose job now demands that he go around town carrying out evictions on families unable to pay their rent.
During all of this, Flint’s crime rate skyrockets, with shootouts and murders becoming all too common. Crime becomes so prevalent that when the ABC News program Nightline tries to do a live story on the plant closings, someone steals the network’s van (along with the cables), abruptly stopping the broadcast. Living in Flint becomes so desperate that Money magazine names the town as the worst place to live in America. The residents react with outrage and stage a rally where issues of the magazine are burned. Ironically, the residents play the song “My Hometown” by Bruce Springsteen during the rally, seemingly unaware it is about a town becoming overcome by crime and poverty.
At the film’s climax, Moore finally confronts Smith at the chairman’s annual 1988 Christmas message in Detroit. Smith is shown expounding about generosity during the holiday season, concurrently as Sheriff Fred Ross evicts more families. After Smith’s speech, Moore hounds Smith, addressing him from a distance. The face-to-face encounter between Michael Moore and Roger B. Smith is shown as this:
Smith: I’ve been to Flint, and I’m sorry for those people, but I don’t know anything about it, but you’d have to…
Moore: Families being evicted from their homes on Christmas Eve.
Smith: Well, I’m… listen, I’m sure General Motors didn’t evict them. You’d have to go talk to their landlords.
Moore: They used to work for General Motors, and now they don’t work there anymore.
Smith: Well, I’m sorry about that.
Moore: Could you come up to Flint with us?
Smith: I cannot come to Flint, I’m sorry.
Dejected by his failure to bring Smith to Flint, Moore proclaims that “as we neared the end of the 20th century”, as the rich got richer and the poor got poorer, and “it was truly the dawn of a new era.” After the credits, the film displays the message “This film cannot be shown within the city of Flint”, followed by “All the movie theatres have closed.”
This film, financed partly by Moore’s mortgaging of his home and partly by the settlement money from a lawsuit he filed against Mother Jones for wrongful termination, was meant to be a personal statement over his anger not just at GM, but also the economic policies and social attitudes of the United States government during the Reagan era, which allows a corporation to remove the largest source of income from an entire town. The film proved to be the most successful documentary in American history at the time in its theatrical run (since surpassed at the box office by Moore’s later documentaries Bowling for Columbine and Fahrenheit 9/11) and enjoyed wide critical acclaim. Despite its success, the film was not nominated for the Best Documentary Feature Academy Award in 1990 bolsos hermes. In response to the documentary, General Motors threatened to pull advertising on any TV show that interviewed Michael Moore. Despite the company’s public opposition to the film, its humorous and buffoon-like portrayal of Roger Smith made it widely popular inside GM; by the time of the film’s release, GM had lost 8% of its market share and was taking on significant financial losses, leading many employees and executives to become disillusioned with Smith’s leadership.
Roger & Me was filmed under the working title A Humorous Look at How General Motors Destroyed Flint, Michigan.
Warner Bros. gave Moore $3 million for distribution license, a very large amount for a first time filmmaker and unprecedented for a documentary. Part of the distribution deal required Warner Bros. to pay rent for two years for the families evicted in the film and give away tens of thousands of tickets to the unemployed workers.
Moore returned to the subject of Roger & Me with a short documentary called Pets or Meat: The Return to Flint (1992), which aired on the PBS show P.O.V. In this film, Moore returns to Flint two years after the release of Roger & Me to see what changes have taken place. Moore revisits Flint and its economic decline again in later films, including The Big One, Bowling for Columbine, Fahrenheit 9/11, and Capitalism: A Love Story.
Film critic Pauline Kael felt the film exaggerated the social impact of GM’s closing of the plant and depicted the actual events of Flint’s troubles out of chronological order. Kael called the film “shallow and facetious, a piece of gonzo demagoguery that made me feel cheap for laughing”. One such criticism is that the eviction at the end of the film occurred on a different day from Smith’s speech, but the two events were intercut for emotional effect. Moore addresses this criticism in the DVD commentary, stating that “there are no dates in the film; we’ll be going back and forth throughout the decade of the ’80s.”
In March 2007, Canadian filmmakers Debbie Melnyk and Rick Caine appeared on MSNBC’s Tucker to talk about their documentary Manufacturing Dissent. They reported to have found that Moore talked with General Motors Chairman Roger Smith at a company shareholders’ meeting, and that this interview was cut from Roger & Me. Moore acknowledged having spoken with Roger Smith at a shareholders’ meeting in 1987, before he commenced filming, but said the encounter concerned a separate topic unrelated to the film. The filmmaker also told the Associated Press that if he had managed to secure an interview with Smith during production, then suppressed the footage, General Motors would have publicized the information to discredit him. “I’m so used to listening to the stuff people say about me, it just becomes entertainment for me at this point,” he remarked. “It’s a fictional character that’s been created with the name of Michael Moore.”
Critic Roger Ebert wrote an article entitled, “Attacks on Roger & Me completely miss the point of film” that defends Moore’s manipulation of his film’s timeline as an artistic and stylistic choice that has less to do with his credibility as a filmmaker and more to do with the flexibility of film as a medium to express a viewpoint using the same methods that satirists have used. Ebert argues that the point of the film is not to present a completely cut and dried presentation of facts, but instead to create a jumping point for interest and dialogue through use of humor and irony.
Critic Billy Stevenson described the film as Moore’s “most astonishing”, arguing that it represents an effort to conflate film-making and labor, and that “it’s this fusion of film-making and work that allows Moore to fully convey the desecration of Flint without ever transforming it into a sublime or melancholy poverty-spectacle, thereby distancing himself from the retouristing of the town-as-simulacrum that occupies the last and most intriguing part of the film.” As of August 2014, Roger & Me has a Rotten Tomatoes rating of 100%, with all 27 cited professional reviews being positive.
The film received the 1989 Best Documentary award from the National Board of Review.