Mark Steyn diagrams the difference between the period between 9/11 and Fahrenheit 9/11:

One day a pair of security guards from the Iranian mission will be heading for the Lincoln Tunnel, and they won’t be carrying just their Kodak Instamatics.

The war on terror’s a bit of a joke on the Left these days. In Fahrenheit 9/11, Michael Moore says Bush is deliberately keeping the population in a state of fear, and he gets some of his biggest laughs with clips of solemn announcers announcing upgraded terrorism alerts.

I suppose it is pretty funny. Until it happens. And then Moore and the Democrats will switch to arguing that Bush knew it was going to happen all along and didn’t do anything about it.

In the autumn of 2001, Jacob Weisberg, now editor of Slate, wrote a column bemoaning what he regarded as a silly post-9/11 trend. The Weekly Standard, the New Republic and other publications had begun giving ‘Susan Sontag Awards’ and similarly facetious honours for notably stupid anti-war commentary. Early winners included Oliver Stone, Karlheinz Stockhausen, Michael Moore, etc. Weisberg thought this unworthy of serious news magazines: ‘Stone and Moore are well-known cranks, regarded with considerable distaste even on the Left,’ he wrote. The idea that ‘these comments represent a significant body of anti-war opinion’ was preposterous.... Put bluntly, there is no anti-war movement, intellectual or popular, in the United States. Don’t get me wrong. I’m not saying no one opposes the war. According to polls, 5 per cent of the country is against it. There are pacifists and Buddhists ...Those policing the debate are dropping the rhetorical equivalent of daisy cutters on a few malnourished left-wing stragglers.’

Well, something’s changed in the last couple of years, and those left-wing stragglers are a lot less malnourished. Last weekend Michael Moore, the ‘well-known crank’ regarded with ‘considerable distaste’, had the Number One movie in North America. Okay, its weekend gross was $21 million, which sounds big, until you realise that the week before a dumb comedy called Dodgeball took $30 million without anybody even noticing. On the other hand, the business of Congress wasn’t put on hold because so many Democratic bigshots were attending the premiere of Dodgeball. That did happen with the premiere of Fahrenheit 9/11, and when the movie was over it was all five-star raves. Senator Tom Harkin of Iowa urged all Americans to see the film. Terry McAuliffe, chairman of the Democratic National Committee, praised the film for raising ‘a lot of issues that Americans are talking about’ - i.e., is Bush in league with the bin Laden family?

As those Iranian photographers remind us, this war can only be won abroad. And, as the rise of Michael Moore emphasises, it can only be lost at home.

For the Left, this film is a test to separate the wheat from the chaff, the honorable from the dishonorable, the serious from the unserious. In the Clinton years, conservatives needed to step away from the unsubstantiated videos that talked in conspiratorial tones about all of Clinton’s heinous secret crimes. To be taken seriously, every liberal today should criticize “Fahrenheit 9-11" as an affront to journalism and civil discourse.

And the film places John Kerry in a vice grip: he risks alienating his base if he condemns it. And he risks alienating moderates if he doesn't. Not surprisingly in this type of situation, he's said (to the best of my knowledge) nothing about the film. And as a result, he's allowed it to define him.

UPDATE: John Hawkins also has some thoughts.