CRASH (2005)
Reviewed by Jerry Saravia
Reviewed by Jerry Saravia
Racism in America is prevalent. Racism in L.A. is just as prevalent. "Crash" is a movie that attempts to explore the racial attitudes and stereotypes of L.A., though it is a credit to writer-director Paul Haggis that he assumes the race card is played in every city.
"Crash" has a mosaic, Altmanesque narrative, which means it is only fitting to describe the characters and their actions since the movie defines them that way. Matt Dillon is a racist veteran cop, Ryan, who pulls over a light-skinned black couple (played by Terrence Howard and Thandiwe Newton) for performing fellatio. It leads to a cringe-inducing scene where Jack humiliates the wife while the husband stands there, powerless and just as humiliated. This couple's relationship is now fraught with tension and fruitless arguments - one assuming they know more about being black in America than
the other. Howard is a TV director who faces subtle racism from a white producer (Tony Danza in what may be the best performance he's ever given). Lo and behold, Newton's character has a confrontation with Ryan that is truly incendiary.
In addition, we have a Hispanic locksmith (Michael Pena) who is accused of being a thief by an Iranian store owner (Shaun Toub) and by an acrid woman, Jean (Sandra Bullock), who happens to be the wife of the D.A. (Brendan Fraser). Of course, the locksmith is a family man who is only doing his job and
Jean has just been carjacked, the latter being the least congenial person in the world. There is also a police detective, Graham (Don Cheadle), who has a drug user for a mom and a troublesome brother loose in the streets. Graham is romantically involved with his partner, Ria (Jennifer Esposito), a Latina, though he remarks that she represents a mix of Latino and Hispanic cultures who always park their cars on the lawn. Hip-hop artist Ludacris plays one of the carjackers who teaches his partner in crime (Larenz Tate) about the state of black people in this country, and how whites are in fear of blacks (they put this theory to the test).
"Crash" is an expose of multi-racial attitudes in a city where everything is based on race, color and creed. Not a single conversation in this film ever revolves around anything but race. Some critics have labeled this film as liberal propaganda, others have deemed it unrealistic. I understand the latter's
criticism because in real life, people probably don't spend half as much time discussing racism as they do discussing what's for dinner. But Paul Haggis's film is not about reality but about a reality probably taking place in our heads. Racism does exist and there are white racist cops out there, not to mention carjackings every day of the week. We should not be quick to forget that racism abounds and affects all. I would add that I think racism is often not discussed or blatantly used, but it is more often implied.
I admire Paul Haggis's attempt to define a growing and relevant issue. I especially like the theme summed up by Graham that people want to crash into each other to get some human contact. The reservation I have is that the film is often overwrought with epiphanies every few minutes. A character is often shown to be the reverse of what they really are, thus enduring a karmic kick in the cojones that amplifies an emotional/behavioral renaissance. Sometimes it is believable, other times it stretches
even the credibility of this film's reality. When Bullock's Jean finally shows some level of remorse despite her bitterness towards everyone, we sense that this shift in behavior is abrupt because the moment is too brief to stick. When it happens to Dillon's Ryan during a freeway car accident, it is emotionally wrenching. More often than not, "Crash" needed a little tweaking in the subtlety department - not every emotion has to resonate with exclamation points.
In terms of casting, this ensemble is about as good as it gets. Matt Dillon shows more flair than he has in years. Ditto Sandra Bullock - one too many fluffy comedies can give people amnesia as to what a crackling actress she once was. Ludacris is every bit as electrifying as he was in "Hustle and Flow," plus he possesses a good knack for humor. Terrence Howard and Thandiwe Newton make a believable couple, as does Don Cheadle and Jennifer Esposito. Ryan Phillippe is astoundingly good as a cop who is not at all what he seems. And for the icing in the cake, there's a dynamic cameo by Keith
David as a police lieutenant who sums up racism in the police department with a single blow to the gulliver. In short, you can't ask for a better cast.
"Crash" is a heedless melodrama that could've been longer than its 105 minute running time - there are too many characters with not enough meat and potatoes. It is more of a sentimental sermon than a movie with moments that scream bluntness at every level (Imagine what Spike Lee could've done with this). Still, it has an accommodating cast and enough rich irony to warrant much discussion after it is over.
