But the movie is not all that. Crash is a clash of cultures — a crash of egos, frustrations and frailties that come in everyday living in a city as divergent as LA.
First-time director Haggis, who also wrote Million Dollar Baby has crafted the year’s first near-masterpiece. Filmed in the tradition of a multi-character, fused story line and non-linear filmmaking recently seen in movies such as Amores Perros, Traffic, 21 Grams and Magnolia, Crash provides a fervid vision of society gone awry.
There are no black or white characters in this movie, literally and figuratively. Each has his own imperfections. And each facet of humanity is evenly scrutinized and criticized that no character is left unturned. But however the film has depicted these characters, in the end they all come out human — flawed, deficient but all capable of the universal feelings of hatred, fear and affection, relative or otherwise.
With Haggis’ able direction, the film cruises through a day in the life of several Angelenos as they grapple with life’s basic inequity; directing their frustrations toward people culturally, racially different from them. Ranging from misunderstood biases to unsubtle prejudices, these series of vignettes commences in sudden bursts of violence and culminates in a harried play of startling tragedy and inadvertent comedy.
On top of the directing and writing triumphs, Crash is further enhanced by the extraordinary performances of the ensemble cast. Terrence Howard, Larenz Tate and Matt Dillon give the most memorable turns.
Howard plays a black TV producer who turns a blind eye to lurking racism in his midst. Until he experiences this first-hand and sees his wife virtually assaulted by a cop does he confront this undeniable truth. But what does a black man in his position do? We are given clues, but no direct answer. But his performance signals the coming of another brilliant actor.
Tate plays a nerdy hoodlum who listens to country music, views his surroundings pragmatically and leads a life on the edge. Whatever awaits his character’s fate sets the stage in unraveling another unsettling truth. This truth provokes the viewer to assess his own perceptions about various shades of racial discrimination.
Dillon plays a cop, the symbolic LAPD of recent years. Here he plays a cop whose routine means of apprehending people is sullied by his sinister and racist expressions. We are given tentative glances of his innate goodness but is only ironically summoned in a climactic incident. Dillon’s performance has the toughness and tenderness that leave the most memorable impression on the viewer.
Despite the disappointing final frame that closes the movie, Crash remains a cinematic triumph, a scathing thesis on social disharmony. It’s a must-see!