Movie Reviews
It has been over a week since I saw “Crash” in theatres and I am still feeling the effects of it. I keep correcting myself when I consider using a derogatory or stereotypical term. In fact, I hold “Crash” responsible for me possibly never accepting stereotypes for what they are ever again. In my personal opinion, that alone is enough to see just what kind of movie this really is.
I have no problem admitting my guilt in the arbitrary use of racist comments – however “harmless” they may be – because we all are guilty of it at some point. Case in point, so are all the characters in “Crash”. Some more than others, others more than some, but the point is that no one is safe from it. And it is because of that that we have this cultural collision that takes place in the film; the way everyone views everyone else, and how that point of view may cause karma to engulf every situation.
“Crash” is set in Los Angeles, I’m guessing around December in 2001, just after September 11. What it entails is the story of roughly a dozen people – all of which are articulate, poetic, and (most importantly) real human beings.
“Crash” is based on a story that Paul Haggis came up with. He co-scripted the screenplay with Bobby Moresco, and also directed the film. Haggis scripted and produced last year’s best film “Million Dollar Baby”, with Moresco co-producing. They are proving to be a very promising filmmaking team.
The film itself is reminiscent of Lawrence Kasdan’s “Grand Canyon” (1991). It’s not that “Crash” poses itself off of Kasdan's film, but they both have similar views on the world we live in, on how we treat each other, on human situations and how those situations lead to some very powerful moments in our lives.
Haggis’ directing reminds me of Michael Mann; both are remarkably good at making us feel ambiguous emotions toward central characters; both are also good at using Los Angles as the background to tell their story. And while Mann uses L.A. almost as a character all in itself, Haggis uses the fact that it is quite the melting pot of numerous ethnicities to tell this story.
So what is that story? Well, I feel the way I did when I wrote the review for “Intermission”, which is speechless. I’m not a good enough writer to explain the plot sufficiently, and so you all must settle with this: Sandra Bullock is Jean, the wife of district attorney, Rick (Brendan Fraser). They’re out on the town one night when their Lincoln Navigator is carjacked by two young black men. Jean frantically has her locks changed back at the house. A Mexican-American man (Michael Pena) is the locksmith on the job. By the looks of him, Jean instantaneously (and quite loudly) accuses him of being a thug and a gang member.
Was she right to do that? Well, he looks the type, and if he is, then their safety is again at stake. But then again, what if he’s merely a man on the job, not up to no good, but instead making his living.
Then there is a Officer Ryan (Matt Dillon), a white cop who is a known racist. When pulling over another Navigator (this vehicle is often the center of high tension) Dillon’s character molests a light-skinned black lady (Thandie Newton) who is thought to be white. Her husband, a black television producer (Terrence Dashen Howard), does nothing to stop the injustice even with it happening in front of his eyes. Why? Because this cop is white, and he won’t hesitate to make this “simple” situation a catastrophe. Ryan’s partner, Hansen (Ryan Philippe) sees what is happening, but stays put knowing what the lady’s husband knows.
Don Cheadle plays Graham, an investigator having an affair with his partner, Ria (Jennifer Esposito). Shaun Toub is an Iranian storeowner who is called Arab. His wife interjects saying, “When did Persian become Arab?” He has the same opinion about the locksmith that Jean does. But he has a surprise for them.
In all actuality, everyone has a surprise for us. But it is not the kind of surprise we anticipate. Usually, we find ourselves sitting in the theatre trying to guess who is going to do what. Where Haggis takes us is to a very real place where twists and turns happen as naturally as day and night. These people have grudges for unjustifiable reasons, at least, most of the time they’re unjustifiable. The fact that they shouldn’t be judging others by their race is beside the point; they do that anyway. What’s important here is that if they didn’t commit that sin, as we all have, there would be no crashing of opinions or cultures. What is so terrifying is that I know so many people that are exactly like these characters.
Haggis has not only made a masterpiece, he has made a film that is alarming, moving, and even funny. You won’t find a more ambitious or thought-provoking movie this year. ****