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The most haunting sequence is captured by a security camera in a Los Angeles street. A woman, still in her hospital gown, staggers through the traffic, where she has been dumped by the company (the one founded by Nixon's backer) that runs the hospital to which she was admitted. She is ill and terrified and has no health insurance. She still wears her admission bracelet, though the name of the hospital has been thoughtfully erased.
Later on, we meet that glamorous liberal couple, Bill and Hillary Clinton. It is 1993 and the new president is announcing the appointment of the first lady as the one who will fulfil his promise to give America a universal health-care. And here is "charming and witty" Hillary herself, as a senator calls her, pitching her "vision" to Congress. Moore's portrayal of the loquacious, flirting, sinister Hill ary is reminiscent of Tim Robbins's superb political satire Bob Roberts. You know her cynicism is already in her throat. "Hillary," says Moore in voice-over, "was rewarded for her silence [in 2007] as the second-largest recipient in the Senate of health-care industry contributions".
Moore has said that Harvey Weinstein, whose company produced Sicko and who is a friend of the Clintons, wanted this cut, but he refused. The assault on the Democratic Party candidate likely to be the next president is a departure for Moore, who, in his personal campaign against George Bush in 2004, endorsed General Wesley Clark, the bomber of Serbia, for president and defended Bill Clinton himself, claiming that "no one ever died from a blow job". (Maybe not, but half a million Iraqi infants died from Clinton's medieval siege of their country, along with thousands of Haitians, Serbians, Sudanese and other victims of his unsung invasions.)