A Crash into Greatness
Lights shine, breaks screech, fear absorbs the mind and you crash; you collide into life. The film Crash is a 2004 Paul Haggis masterpiece crafted in a way to show how racism and individual prejudices can dictate the way we live and indirectly handicap us from seeing reality. Crash is a film that introduces a variety of situations and characters whose lives unpredictably intertwine in a short 36-hour time period, leading up to an awe-inspiring ending. This film advocates the importance of judging people based on the content of their character: rather than their racial, ethic, or religious makeup: it transcends beyond sheer entertainment because its message reaches further than that appeal. In this film a plethora of stereotypes are touched on whether it be victim and aggressor, woman and man, or black; there is an inescapable, parallel nature that exists between them all. Entertainment can be an ambiguous idea to define, but within great films like Crash that idea is much more prevalent because that idea is miraculously communicated to the audience through a lens and a roll of film.
Paul Higgs, the director of this film, succeeded beyond audience expectations and after his screenplay work in the film Million Dollar Baby, we now know he is here to stay and dazzle us all. There is nothing reserved about the movie Crash and unlike Million Dollar Baby it does not build up to a climax because the intensity is apparent form beginning to end. Higgs does an amazing job in this film and I know that critics and movie goers alike took notice of that. There is a big difference between being a screenplay writer and being a director; Higgs had no much more to prove. His vision for the film translated beautifully onto the picture. I can only stand astonished by his work and his passion for making great movies. The cinematography, the casting, the raw honesty, all showcases Higgs visionary talent as a director. Higgs is here to stay because is has so much more to offer film-making; our thirsts will not be quenched and our appetites will not be fed without him.
Swimming through the ripe tides of perplexity and disorder the audience is brought into a new, provocative world: the real world. According to Roger Ebert, this film is a complex and intense drama full of sadistic dialogue and an aggressive cast as it attempts to investigate the “melting pot” of dissonance, a distinct lack of tolerance, and most prominently fear in L.A. Instead of taking an antiquated approach to the immorality of racism this film exploits the misconceptions and stereotypes that so many of us hold. Matt Dillon’s character is a police officer torn apart by weakening health of this father; which he transfers into anger by victimizing innocent people on the job. In one of the many disturbing scenes of this movie Matt Dillon sexual assaults Thandie Newton’s character, an African-American woman, when her husband, Terrence Howard, is pulled over for speeding. The film demonstrates the evidently corrupt law enforcement in the Los Angeles area and sparks a gut-wrenching desire for ignorance among the audience; people don’t want to believe that those whom we pride for saving lives are actually degrading them. Crash dives in head first to a sea of controversy and it fearlessly attacks against all odds.
There are also those that look at this film and see a good piece of cinema, but not worthy of a renowned mark in movie-making history. As said by Rob Gonsalves, this film relies too much on twists of fate, leaving the audience with the impression that live is really like that. I would have to respectfully disagree with Gonsalves because I do not feel that this film is good in spite of the element of fate, but that this film is good because of it. Fate is this uncontrollable component in all the madness and chaos of the storyline that gives the characters a sense of hope; hope that there is a greater plan for them. According to Gonsalves, Haggis reveals these disconnected characters and then sets out to bring their lives together, not by nature, but by force. Gonsalves goes on to say that the script feels so unnatural because not every Iranian is irascible or every Latino a thug. I do see the point Gonsalves is trying to make, but his judgment is clouded by his ideal and he is missing the whole meaning behind this film. Crash is not putting the focus on a life of privilege or a life of struggle; it is presenting a set of extreme circumstances that test how both sides of the team play. That is why this film cannot be degraded to okay, but risen to great.
The real aspect of the film, which so many viewers miss, is not the element of superiority and subordination but the connection between the characters throughout a dramatic series of events. This connection brings about such a powerful idea that in some cosmic, almost incalculable way we are all connected and to bring suffering to one is to bring suffering to all. The one we treat with malice and disgust may be the one person we need the most; a lesson Sandra Bullock’s character learns when she takes a fall down her stairs and her housekeeper comes to her rescue. Sandra Bullock is a complex character that goes through a coming of age experience as she pulls away from her pretentious, ignorant life choices. As a grown woman, Bullock realizes that the things she once found value in seem trivial when you need a true friend. In the mind of Robert Ebert the concepts of this film have been touched on many times that seems almost like we seen it before, but what makes it different is the approach at which we combat these issues. I couldn’t agree more with Ebert and to add my own account of the approach is to say, when a film evokes anger, joy, and fear simultaneously then it is without a doubt praiseworthy.
A film is only as good as the approach and director, Paul Higgs defined this idea in a very interesting, profound piece of documentation. In the film Million Dollar Baby Higgs was a screenplay writer and in Crash he takes on a completely different identity as director of the filmmaking process. Higgs translates his passion for justice and his keen sense for using the emotional component and its ability to cloud our judgment as ways of bringing dimension to the characters. When the ashamed and humiliated Terrence Howard confronts a group of police officers he proceeds to spit and scream, “Shoot me, go ahead and shoot me”, after allowing his wife to be molested by one of them the other night. The emotions of the characters rise and fall to leave the audience wondering will they survive the storm? Naturally, as an audience we feel a kinship towards the abused and a hatred for the abusers, but in this film our attitudes are altered because we begin to understand the other side of the story. The side that seems to be lost when we differentiate between what is right from what is wrong.
Based on an interview conducted by Rebecca Taylor on Thandie Newton the film expresses a raw and multi-faceted greatness, “What’s so wonderful about the film is that it allows you to see their motivation and to see that behind the aggressive cop is a man in pain. Behind the frustrated housewife is a woman who feels betrayed…Racism is just one piece to the whole puzzle that the film offers”(qtd in Taylor). I have to concur with Newton’s interpretation of the film, as I have been saying throughout the review, Crash cannot be imprisoned to one message, but many. Initially Newton’s character blames her husband for not stopping Dillon’s character from putting his hands all over her body, but she then forgives Dillon when they have another run in with each other and he saves her life. The film doesn’t put the scarlet letter on those who do wrong because this film allows for salvation and forgiveness. This facet of the movie was appreciated by Dillon who felt he could portray the role conviction in an interview by Taylor, “I‘ve never been one that has been that concerned with my character looking good and with this one, there’s redemption in the story” (qtd in Taylor). On the other hand some character stray from their natural goodness like Ryan Phillippe’s character, a young police officer, whom struggles to serve in the force without compromising his integrity and values. The film grants the characters with a choice; nothing is predetermined because the actions of the characters are all consenting choices.
Greatness is not present from the exterior, but is present from within; Higgs recognizes the potential for greatness and captures that on film. There are few movies in our era that you can look back on and know that you were forever impacted by the content of the film. The films where you look back and can remember what you felt, what you witnessed, and even how it tasted. All senses have been exercised because you are in the presence of prominence: a mark in history. The severity of the situations and the dramatic car crash ending that puts the pieces of the puzzle together it what keeps the audience glued to the screen. The mark of a fantastic movie is when you look back to the very first time that you saw it and you can remember every detail because it was the day a film changed your perspective on life. Higgs brings to life that feeling and after you see this film you will leave with something that is so priceless because you will leave with an unsheltered truth.
Works Cited
1) Ebert, Robert. “Crash.” Chicago Sun Times. May. 2005: Chicago, IL. 19 April 2008 <http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20050505/REVIEWS/50502001/1023>
2) Gonsalves, Rob. “Crash.” Efilmcritics. Jan. 2004:Toronto, Canada. 24 April 2008 <http://efilmcritic.com/review.php?movie=10448&reviewer=416>
3) Taylor, Rebecca. Matt Dillon and Thandie Newton Discuss “Crash”. 3 May 2005. Guide to Hollywood. 19 Apr. 2008 <http://movies.about.com/od/crash/a/crashmd050105.htm> \
4) Crash Movie Photos. Lions Gate Films. 19 Apr. 2008 <http://movies.about.com/library/weekly/blcrashpicsa.htm>



