With its interweaving stories and outstanding performances, “Crash” almost becomes something special. But the rushed ending and borrowed ideas dampen the impact.
Taking place in Los Angeles, the film sets up strangers with coincidental encounters to show how they all affect each other. The main issue is race. “Crash” features a cast of blacks, whites, Asians, Persians and Hispanics, all upset with the stereotypes in their city, at times proving the stereotypes to be somewhat true.
At a suitable pace, several stories are juggled at once. Sandra Bullock is the wife of the city’s district attorney, Brendan Frasier. While Bullock seems intent on insulting any Hispanic around her, Frasier is worried about appearing politically correct with black voters. Another story deals with the bigoted and lewd police officer, Matt Dillon, who pulls over a black couple for fun, frustrating his younger, more tolerant partner (Ryan Phillippe).
Other stories include a Persian storeowner who believes a Hispanic locksmith is a cheat, and a pair of automobile thieves-one played by rapper Ludacris-discussing racism in general while carjacking. Meanwhile, Don Cheadle is a cop who has trouble choosing between standing up for the right thing and looking good.
Inevitably, these characters and situations mix for top-notch drama. Unfortunately, while the effect pleases, it’s not overtly original. Coincidences were covered quite thoroughly in P.T. Anderson’s excellent “Magnolia,” and one can’t help but remember Quentin Tarantino’s “Pulp Fiction” during certain scenes, especially one where fate is narrowly avoided.
As mentioned earlier, racism pervades the movie constantly. Characters who seem untouched by it fall prey to it in the most unfortunate circumstances, while others possessed by ignorance find sympathy in unlikely places. Along the way we’re treated to some funny dialogue. A rationalization involving the Discovery Channel contains the film’s wittiest dialogue.
And the majority of the cast grabs your attention like shattering windows. Although his character nearly disappears after the midpoint, Dillon’s insensitive and vulgar cop has shock value and merit to match; while most of the character’s actions are abominable, Dillon finds humanity in the wicked officer. A surprise is Ludacris: he deftly appears vaguely humorous and angry during his enraged speech about white women being scared of passing black strangers. Rarely has a rapper appeared as genuine in a drama.
Disappointingly, Bullock didn’t meet many expectations. At first she leaves behind the girl next-door image, convincing the viewer that she’s a racist witch. However, near the end of the movie, she loses believability. She’s decent, but most actresses could have pulled off her performance.
Frasier fares better as the district attorney, and Cheadle is quite amazing as the conscientious and confused police officer. His dry eyes permeate more sadness than tears, and he feels that nothing can be done to change the world: “In L.A., nobody touches you. We’re always behind this metal and glass.”
Plus, Ryan Phillippe, Thandie Newton, Terrence Howard and Shaun Toub are among a slew of supporting actors who add even more to an already powerful display of acting. And you have to love Keith David’s brief turn as a lieutenant of the LAPD. This guy is severely underused.
Director/co-screenwriter Paul Haggis pulls you in slowly and then seemingly never lets up. However, “Crash” slams on the brakes after it builds considerable momentum, leaving you wondering what could have been done with the potential.
So the movie has its share of unoriginality and a couple of other letdowns. Yet “Crash” succeeds more than it frustrates, and Haggis, the man responsible for the hard-hitting screenplay of “Million Dollar Baby,” does a suitable job with his first try at directing. It won’t be remembered as one of the best, but at least it avoids being a total wreck.
The introduction to the DVD by Haggis has to be one of the more embarrassing claims as an actual extra. Ditto for the Kansascali music video. Nobody wants MTV garbage for bonus material. Sure, the 10-minute behind the scenes feature isn’t as loathsome, but it should have been longer. The best extra comes from the commentary track that lets Haggis, Cheadle and co-screenwriter Bobby Moresco muse about their ambitious project.