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268 out of 371 people found the following comment useful:-
Volatile Redemption, 13 May 2005
Author:
Mercy Bell (mercybell) from MA
"Crash" is a complex movie with a simple premise: set in Los Angeles it
follows 8 main characters (and many, many more supporting) from all
walks of life and races whose lives intersect at some point during one
24 hour period. These people are all different yet all alienated, to
the point of breaking, so much so that when they come together, things
explode.
The complexity of the film comes from the encounters between characters
and their tangled lives and worlds. Haggis' screenplay is so intricate
and delicately written I couldn't begin to try to summarize the actual
plot line (which destines this article to be kind of vague), but
everyone meets everyone else at some point in the film (and there are a
whole lot of characters). Sufficed to say these meetings are variably
intense, casual, fleeting, dangerous, but they all effect the
participants in profound and provocative ways, causing lives to find
enlightenment or swerve violently, and watching it all unfold is
mesmerizing because Paul Haggis (Oscar Nominated writer of Million
Dollar Baby) made the film meaty with messy characters and topics and
stories to chew and hurtle along with.
The all-encompassing theme of the film is racism, and it is dealt with
bluntly, honestly, and without reservation. Every single character
participates in the perpetuation of the ugly cycle but also suffers
because of it. Where racism makes for an interesting enough subject for
an already provoking and fairly experimental film (I was surprised to
see this get wide release), it's only the catalyst for a deeper,
resounding story of redemption and the universality of our lonely
situation which the movie becomes during its second hour (what you
could call Act II). It switches from a somewhat depressing
contemplative amalgamation of moments about racism in everyday life and
how destructive it is, to a throbbing, intense web of choices and
consequences -- life and death, vivifying or soul killing -- and the
chance at redemption.
Following their actions in Act I, everyone meets a fork in the road or
is given a second chance of some sort. Some take it, some don't, but
regardless, by the end of the movie everyone has changed. This is what
gives the movie wings during its second hour, makes it interesting,
keeps you guessing and on knife's-edge. It also gives the characters
depth and souls and shows that despite perceived and upheld
differences, when it comes down to it we aren't different (which we see
in a shattering scene between Ryan Philippe and Larenz Tate after Tate
notices that he and Philippe have the same St. Christopher statue), in
fact we desperately need each other. It's one of the few films I've
seen where everyone is at fault somehow and yet there are no villains.
It makes it hopeful, particularly with something as ugly as racism:
everyone's fallible, but everyone has the capacity for good and
nobility. That said, each of these character's inner struggles makes
for all the conflict and resolution you need.
A talented ensemble drives the film, sharing almost equal amounts of
screen time, but the folks who really stood out and had my full
attention each time were Terrence Howard (plays a TV director), Matt
Dillon (as a patrol cop), Sandra Bullock (a rich housewife), , Don
Cheadle (a detective), and Michael Pe�a (a locksmith). These five gave
deeply, deeply felt performances portraying a wide range of emotions
and personal situations, giving souls -- alone, yearning, and searching
in a world that doesn't seem to care -- to shells of imperfect people.
But the actors triumph in little moments of human contact: a glance, an
embrace, a pause, a smile, a wince, things that breath the film to life
and with simple visuals give it profundity. This is beautifully
illustrated in a small scene between the downward spiraling Jean
(Sandra Bullock) and her maid after she's begun to realize all her
problems may not be about the two black guys who car jacked her, but
her own life.
Some closing notes: it's obvious it's a debut. At times the dialogue
and acting can be stilted and unnatural; some of the initial "racial"
situations seem forced; certain scenes could have used some editing or
fine tuning, but by the end I didn't care. It also may be helpful to
know that the first hour spends its time setting everything up for Act
II, although it will seem more like a photo essay on racism than a
setup. But by the time Act I ends you're ready for something
substantial to happen, and at the perfect moment, stuff happens. I was
entirely satisfied with this movie, I couldn't have asked for anything
more. Still it's impressive, with his debut Haggis made a film that
magically maintains a storytelling balancing act about people's lives
that almost seamlessly flows, takes an honest look at racism with an
understanding of mankind, a belief in redemption, and even hope. As I
walked out of the theater into the rainy night it resonated with me and
colored my thoughts as I made my way through the crowds of unknown
fellow people filling the cinema. That's about all I can ask for in a
film.
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