Crash | Review

Haggis brings viewers into a laneway of intolerance.

A cataclysm of a world that feels so far removed from actuality, and yet speaks volumes of truth on the current sad state of affairs, this ensemble pic comprised of different shades of personalities and skin-color tones treads a familiar Falling Down-like geographic and demographic pattern of the Los Angeles basin. There’s nothing especially innovative in Crash, much of the post 9/11 discussions and racially-driven text have been filmically addressed before, but like getting rear-ended when you least expect it, Paul Haggis’ newest feature is literally full of surprise smaller moments, which collectively have a marvelously heavy compounding effect.

Critically hailed by the film community for his novel to screenplay adaptation which would later become known the Best Picture of the year, Haggis’ tale doesn’t create a divide between the good and the bad, instead he explores all of the film’s complicated personalities with a loving embrace. Though during one sequence the film comes close to breaking into a collective song – one of the many winks in narrative structure to PTA’s Magnolia, this low-budget drama composed of interlocking stories and odd coincidental connections thematically addresses the strained relations between races. From politicians to hoodlum thieves, and from the blue collar workers to the L.A.P.D and the Hollywood fortunate, this series of fortunate and unfortunate incidents is originated by Haggis’ own brush with the car-jacking experience and the symbolical use of the motor vehicle explores the large sentiment of isolation.

Haggis’ characters aren’t type-cast as one dimensional or stereotypical interpretations, instead these are complicated, multi-layered beings who are all touched by a paralyzing effects of fear, anger and resentment. While cars take their passengers through un-postcard friendly areas and remain unscathed, Crash works best when the safety net is taken away – when the players coincidentally collide together, Haggis’ text keeps its cool. A succession of crucial moments commencing by a scene where Matt Dillion’s police officer has a second visit with a stranger would generally be one of those off-putting devices that hinder the tone of a picture. Instead, there is an emotional payoff in these climatic moments, which overcomes the sometimes blatant dialogue pieces that try to insert racist remarks. The tempo and the dramatic high-tension is kept afloat because of the film’s ensemble acting effort, some pleasant surprises come from Jennifer Esposito, Thandie Newton, Terrence Howard and yes, even Sandra Bullock who all give poignant supporting performances. Million Dollar Baby might have put this writer on the map, but here Haggis creates the blueprint for a solid pot-boiling screenplay with strong characters that avoid easy labeling.

Rating 4 stars