Crash (2005)
Like "Magnolia"
and "Grand Canyon," Paul Haggis' "Crash" is a multi-storied
rumination on life in modern American urban society.
But this script has much more edge and brashness than
the other movies of this storytelling genre. Haggis
infuses the script with a undercurrent of racism that
continually threatens to pull everything apart here.
It's often so bitter and angry ut reminds one of a
dog ripping scrap meat from a bone. This sharp and
bitter edge to the dialogue and plot makes "Crash"
one of the most uncompromising and important films
of the new millennium.
Granted, Haggis has several threads
going on here and he leaves many of them flying in
the breeze in the film's ending. But the overall spirit
and theme of the film far outweighs any plot disparities
we might want to complain about. Haggis' film has
heart and soul and wants desperately to be important,
another selling point that can come across as a negative
to the picky.
While this film is important and
poignant, it is also a genre piece that tries desperately
to measure itself against amazing filmmakers like
P.T. Anderson and Lawrence Kasdan and there's simply
no comparison. Like Mike Binder's recent "The
Upside of Anger" , "Crash" treads solidly on the
"suburban angst" prototypes that have come before
it. Haggis' biggest nod in this direction? The inclusion
of new agey "angelic" vocal music that "ahhhs" and
"oohs" while the camera pulls up into the sky for
an overhead view of the scene happening below. It's
a device so standard and stereotypical that it almost
belongs in The Smithsonian. Haggis is simply not an
accomplished enough filmmaker yet to make such trappings
seem like his own.
The acting here is almost uniformly
fantastic. Don Cheadle is simply terrific. This guy
is certainly America's greatest living actor now that
Brando has died. Cheadle is the true heart and soul
of this film. He blows us away with his subtle performance
that never once attempts to overload the film or distract
from its quiet poignancy. The same can be said of
Sandra Bullock who, playing somewhat against type
here, has the best role of her career. I love Sandy
and I can't wait until she is given more chances at
edgier and more important material like this. Ryan
Phillippe also breaks out of a mold here and wows
us. He's awesome here, putting clunkers like "Antitrust"
and "54" far from our minds.
And, oh my God, Thandie Newton.
This is a performance that should earn her numerous
accolades. And Matt Dillon. He too has his best role
in ages. And Ludacris and Larenz Tate and Jennifer
Espisito are just amazing. Tony Danza and Keith David
have wonderful tertiary roles. Loretta Devine does
a beautiful job. There's just a plethora of amazing
moments between this sparkling ensemble cast. Seeming
newcomers like Michael Pena and Shaun Toub (both of
whom have had several film roles) are given the opportunities
of their career and prove themselves as capable as
the very best actors in the piece. Even the consistently
awful Brendan Fraser doesn't bomb with this material.
Haggis gets golden performances all around.
"Crash" may seem very familiar and
contrived, especially to those who love films like
"Magnolia" and "The Safety of Objects" and "Grand
Canyon," but its innate desire to grate our nerves,
make us think, and open our eyes far outweighs any
negative aspects that one might find here. "Crash"
plows into our sensibilities and reminds us of just
how fragile life can be. Then, in the aftermath of
the chaos, Haggis helps us find the hope that lies
beneath the wreckage as well.
Notes:
Also with a nearly unrecognizable
Marina Sirtis.
Cheadle, Haggis and numerous other
produce here.
Score by Mark Isham.
Pena was also in "Million Dollar
Baby," which Haggis scripted.
At one time Heath Ledger was in
talks for the role that eventually went to Phillippe.
The film debut at Toronto in 2004
but did not hit American theaters in general release
until May 2005.
Not to be confused with the 1996
David Cronenberg film of the same name.
Viewed in Austin in May at a sneak
preview. My friend Jan, who usually sits in the back
row, was there and had a seat saved for a friend who
didn't get in. Since the place was packed, I took
her up on her offer to sit beside her. (I hadn't seen
a rep for the marketing firm that invites me to these
things and just strolled in, so I didn't really want
to try and pressure my way into the press seating).
The crowd was mixed racially since a website called
Soul Citi had given out passes and there were some
African-American ladies sitting behind us and they
talked loudly during the beginning of the movie. It
was a little annoying but I am used to the cultural
differences between blacks and whites in how we experience
movie-going. This difference actually made me enjoy
"Diary of a Mad, Black
Woman" on a whole different level. Anyway, here
the talking was a little annoying and I didn't want
to say anything because I was afraid I would embarrass
Jan. Well, she turned around and asked the ladies
in a rather stern voice to "keep it down a little,"
much to my surprise. They complied and only spoke
a little more during the movie.
