FBI agents, firefighters, rescue workers and engineers work at the Pentagon crash site on September 14, 2001, after a hijacked American Airlines flight slammed into the building on September 11.
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Experts will tell you that the hole was punched by the plane's fuselage, not its wings, which sheared off on impact. But then what happened to the wings? And the tail and the engines? Images of the crash site show hardly any of the wreckage you would expect from a building that's been rammed by a commercial jet. The lawn, where the plane supposedly dragged a wing on approach, is practically pristine. The plane supposedly clipped five lampposts on its way in, but the lampposts in question show surprisingly little damage. And could Hani Hanjour, the man supposedly at the controls, have executed the maneuvers that the plane performed? He failed a flight test just weeks before the attack. And Pentagon employees reported smelling cordite after the hit, the kind of high explosive a cruise missile carries.
There's something empowering about just exploring such questions. Loose Change appeals to the viewer's common sense: it tells you to forget the official explanations and the expert testimony, and trust your eyes and your brain instead. It implies that the world can be grasped by laymen without any help or interference from the talking heads. Watching Loose Change, you feel as if you are participating in the great American tradition of self-reliance and nonconformist, antiauthoritarian dissent. You're fighting the power. You're thinking different. (Conspiracists call people who follow the government line "sheeple.") "The goal of the movie was just really to get out there and show that there are alternate stories to what the mainstream media and the government will tell you," says Korey Rowe, 23, who produced the movie. "That 19 hijackers are going to completely bypass security and crash four commercial airliners in a span of two hours, with no interruption from the military forces, in the most guarded airspace in the United States and the world? That to me is a conspiracy theory."
It's also not much of a story line. As a narrative, the official story that the government--echoed by the media--is trying to sell shows an almost embarrassing lack of novelistic flair, whereas the story the conspiracy theorists tell about what happened on Sept. 11 is positively Dan Brownesque in its rich, exciting complexity. Rowe and his collaborator, Dylan Avery, 22, actually started writing Loose Change as a fictional screenplay--"loosely based around us discovering that 9/11 was an inside job," Rowe says--before they became convinced that the evidence of conspiracy was overwhelming. The Administration is certainly playing its part in the drama with admirable zeal. If we went to war to root out fictional weapons of mass destruction, is staging a fictional terrorist attack such a stretch?