Crash

After seeing this movie, I was able to really understand what "Six Degrees of Separation" means. There is a thread that weaves its way through the landscape of life connecting, influencing, and defining all. This movie is certainly thought-provoking, one cannot watch it without feeling either privileged to have become part of the fabric, or like a fly on the wall - seeing, yet unable to influence or guide. There is almost a sense of frustration at ones inability to be no more than an observer in this movie since it compels you to want to shout in warning, gasp in shock, cry in sorrow, and hold in comfort. "Crash" is definitely not a movie to use as a venue to escape life for a couple of hours, but it is a movie that certainly makes you take a second and third look at who you are within yourself. The actors are surprising not only for their depth of performance, but also because they do not play characters you think you know. I would highly recommend this movie to anyone who likes drama, action, comedic relief, or just an appreciation for a well-thought out movie.

Take the pop-cultured infused socio-political discourse of a Spike Lee movie, the glossy grit of a Michael Mann LA crime story, and the compelling mosaic story-telling technique of a Paul Thomas Anderson film, and you'll get the "feel" for Paul Haggis' stunning directorial debut. To boil a film like "Crash" down to such terms, however, would do it severe injustice. Powerful and thought provoking, this is the most accomplished and compelling film since "21 Grams" premiered back at the end of 2003.

"Crash" brilliantly shows through intertwining vignettes, that are often blazingly funny in their brutal honesty and fascinatingly gut-wrenching in their melodrama, how subtle racism (often guised in nervous humor) and overt prejudice (often exasperated by sudden irrational violence and an overabundance of readily available firearms) completely permeate our culture and everyday interactions within society. A hyper intelligent script showcases not characters, but brilliant representations of real people, people we know and pass in the street every day, people not unlike us. People who at first seem to be lost causes in the war against racism (witnessed in Matt Dillon's harried beat cop and Sandra Bulluck's spoiled District Attorney's wife) can often become the most unlikely solutions to the problem, while people who ride in on their high horse (witnessed in Ryan Phillipe's noble young police officer) can turn against the tide in the blink of an eye. No one is immune to it no matter how hard they try to rise above it (witnessed in Don Cheadle's quietly tragic detective).

In the end, everyone is flawed, the racism is inescapable, and the audience feels a twinge of sympathy for just about everyone. Perhaps that is what Haggis is hinting at to be our answer. Showing empathy and being able to relate even on the most remote level to every human being out there is the first step to that true brotherhood of man. Because the film offers no real solution, the discussion and discourse it creates in the minds of the viewers is the first step in solving society's ills. We can't tackle everything at once, but we can open a dialogue, and hopefully, one person conversing with another will be the first step to our salvation. It takes a bold film to raise such questions, and an even greater one to compel an audience to talk about the potential answers, and that is exactly what "Crash" accomplishes.

I do not want to do an in-depth analysis of this film. Rather, I'll point out what I consider makes it a very poor effort: the script. The same guy who did the script for CRASH also did the script for MILLION DOLLAR BABY. Both won the Oscar for best picture. I must be pretty out of touch to criticize this guy, but here goes. The main problem is that every character is "invented". That is, each character is so obviously the product of a fertile (and I am using that word kindly) imagination. In CRASH the politician and his wife are absolute stereotypes. They speak the most inane lines, like from a comic book or low-grade soap opera. The two cops are similarly contrived. One is a good guy and one is a bad guy. One is an idealist. One is a cynical veteran. I imagine such categories of cops do exist, but to give them life it takes someone who knows the genres, like Joseph Wambaugh. (In fact, to see how really bad CRASH is, just compare it to THE ONION FIELD). We also have the two foul-mouthed gang-banging black youth, hell bent on insanity. Big deal. Anyone can produce such characters. There is the misunderstood, good-guy Mexican plumber, who just happens to love his young daughter oh so much. Etc. Etc. Each character has the depth of a comic-book creation. They all speak in litanies of clichés. The plot too is just a clever manage of intersections. It is so obviously the product of the next cup of coffee or cigarette. It is cleverness without depth or substance. Christ, that this film won best picture just begs belief.

While I am getting in my two cents here, MILLION DOLLAR BABY is the same cliché-riddled mess. It is obvious that the guy who wrote knew nothing about boxing. The characters are pathetic, lifeless creations.

What has Hollywood come to that such movies walk away with top prize?

"Crash" is a superbly made film. The actors are first rate, the camera style is engaging, and production value is tops. And despite all this, I would never recommend it to anyone. Why? I'll explain in my 4th paragraph but first let's talk about the story.

This film follows the lives of a dozen or so people over the course of 2 days all living in Los Angeles. The opening scene gives us the aftermath of some ambiguous tragedy (the titular "crash"), and the next scene flashes back to "yesterday" and shows us the events in these people's seemingly unrelated lives, leading up to that opening moment. If you've seen "House of Sand and Fog" (the #1 Feel Bad Movie of the 2000s), you'll recognize an identical sort of chronology and foreboding tone--so similar that I wonder if the Crash filmmakers were somehow involved in House as well. Both films are very powerful and effective at what they aim to do, and that is, simply put, to disturb us.

Disturb us it does. Within the first 15 minutes, we see things that are so disturbing to the pit of our souls that I almost shut the movie off twice. Racism, hate, justified racism, justified hate, brutal stereotypes. The film masterfully shows us not only the worst quality of humankind but it scrutinizes the reasons why humans are this way. There's no good guy/bad guy; it's all bad guys. The first 15 mins is designed to make us hate almost every character, if not every race. By showing the atrocity that each race supposedly inflicts on the other, it paints us a Hatfield-McCoy cycle of hatred that has no known origin. It just exists and burns hotter. Non-whites are subverted by white society, so they exact revenge by committing crimes against white people which in turn causes the white police to hate and abuse non-white people who in turn become criminals against white people. The cycle of hate is not only explained but validated in a well-crafted, brutally told, highly disturbing way.

Which leads me to the 4th paragraph where I explain why I would never recommend this film. It's because IT JUST MAKES YOU FEEL BAD. For nearly 2 hours you get the same feeling you get when you watch too much cable news. And just as psychologists warn that watching too much news leads to depression, I would say the same can be said of films like this which, like the news, expose and scrutinize the absolute worst of humanity.

But then one might say that films like this are necessary to inspire change. Normally I would agree, and I'm sure that that's the intent of the filmmakers here. But let me ask you: who needs to change? Answer: racists and bigots. But are racists and bigots really going to be watching "Crash", stroking their beards and saying "Golly, I need to stop being a racist"? Probably not. And that is the film's undoing. By taking a heavy, ponderous, complex look at racism and hate, it alienates the fury-driven haters who most need to grasp this message. And instead "Crash" merely preaches to the choir, making the choir feel gawd awful lousy about the state of the world.

The film attempts to lead us to redemption, and there is at least 1 truly powerful scene of triumph that's worth the price of admission. However, other subplot resolutions seem a bit contrived, if not completely unnecessary, such as one character's climactic tragedy & epiphany which was so random I literally burst out laughing (the moral of the story being: don't wear socks indoors!). Ultimately "Crash" tries to tie things up neatly with a positive message, but it's precisely this neat tie-up, simultaneously with every sub-plot, that feels a bit contrived and ultimately unbelievable. At the risk of cutting out half the award-winning cast, perhaps the film should have focused on just 1 story & resolution, rather than pulling the "Fantasy Island" formula of having half a dozen stories wrap up neatly in the last 10 minutes.

Ultimately, despite its excellent presentation and first class acting, "Crash" couldn't sell me on its optimistic spin and instead left me feeling pretty horrible about the reality of living in a world where racists don't often have magical transformations. If you understand what I'm saying, you might want to skip this flick because, regardless of how it ends, the subject will just make you feel bad.

Like Altman's classic Short Cuts, and Anderson's Magnolia, Crash, by writer/director Paul Haggis weaves a tale of multiple characters through the web of streets we have come to know as Los Angeles. Unlike those other two films this one has a very specific theme to explore. From the opening line uttered by Don Cheadle we know this is to be a film about how people relate, and from the interchange that follows between Jennifer Esposito and Alexis Rhee (pretty sure she plays the Korean female driver who rear-ended her) how people relate tends to be ruled by first impressions or prejudice.

Race is paramount in this film, and all our preconceptions of who people are get twisted and turned through the intricate plot. With each new additional character we find another assumption, another stereotype, and then watch as that preconception is obliterated as the character develops. It is a credit to the deftly written script, tight direction and exceptional acting talent that every one of these many characters is fully realized on screen without ever feeling one-dimensional.

I would love to discuss some of the details of what happens to explain how well it is done, but part of the magic of this film is allowing yourself to be taken on this ride. Mind you, this isn't a ride of pleasure. The first half of this film is unrelentingly in its ferociousness. I could literally feel my rage at some of the characters forming to a fever pitch. The fear and hatred I was confronting wasn't just on the screen, but in the pit of my stomach. And in one absolutely brilliant moment I was literally sobbing at the expectation of horror unfolding, only to be cathartically released in a most unexpected way.

Mr. Haggis was in attendance at the screening I saw and explained that the idea for this film came to him one night sometime after 9/11 at about 2a.m. when his own memories of a car- jacking experience from 10 years before wouldn't leave him alone. Clearly this film was his way of relieving those demons of memory, using the catharsis of his art to unleash them and in doing so has given to all viewers of cinema an opportunity to examine our own preconceptions about race relations and how we treat each other and think of ourselves. He mentioned in the discussion after-wards that he likes to make films that force people to confront difficult issues. Films that ask people to think after the film has ended and not just leave saying: "that was a nice film".

This isn't a "nice" film, and I would expect that it will provoke many a discussion in the ensuing weeks when it opens nation-wide. It's a discussion long overdue for this country, and it took a Canadian to bring the issue to the fore in this brilliant, thought provoking film.