Crash

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I've been feeding on the cinematic equivalent of candyfloss recently; a diet consisting of summer blockbusters of varying quality (courtesy of a UGC nee Cineworld's Unlimited access card) most of which, like the confectionery, have turned out to be pretty enough to look at, briefly distracting and ultimately insubstantial. Consequently I've been hankering for something a little more filling. "Crash" - not to be confused with David Cronenberg's earlier film of the same title - proved a more satisfying treat.

Briefly, it's a series of intersecting events involving a number of inhabitants of Los Angeles. Structurally it's reminiscent of Magnolia more than anything else I can recall, even down to it's unlikely coda. On the other hand, it's really a wholly different kettle of fish altogether.

The whole film takes place over little more than 24 hours or so and principally deals with violence born out of misunderstanding - most often relating to race which seems to form predominant theme of the film - and it's ultimately tragic consequences. Despite that description, I should make it clear that it's not an overtly violent film - there's little excess of that sort shown in the screen, although what we're left with remains stark and uncompromising. There's a rich and complex set of protagonists involved. Even those you loath - and you will loath at least one of them - aren't completely devoid of redeeming virtues. Unusually, we're not given much of a chance to identify directly with them, however, rather we connect with them on an emotional level instead as we witness what they go through. This is easily the films biggest success - it's really does drag you kicking and screaming from one emotional plateau to another. In particular it features one scene that delivers a sort of catharsis to which I can't begin to do justice. To be honest, I'd praise the film as worthy of viewing for this moment alone, but the rest of it stands scrutiny too.

Crash isn't a film you'll walk away from feeling you have all the answers, but realising you've been asked the questions is as satisfying in it's own right. It's great stuff of the sort I'd like to see more.

Go see it.

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1 Comments

Matthew Brown said:

I loved the look on the locksmith's face as he told his daughter the story. THAT was first class acting, which stole the film for me. The rest, I agree with your assessment, and loved the film. Now go see "happy Endings" from the guy who wrote "Opposite of Sex". Think you'll like it a lot!

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This page contains a single entry by Mark published on August 27, 2005 11:59 PM.

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