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Crash (2004)
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Director:
Paul Haggis |
COUNTRY
USA/Germany |
GENRE
Drama/Action |
NORWEGIAN
TITLE
Crash |
RUNNING
TIME
113
minutes |
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Producer:
Don Cheadle
Paul Haggis
Mark R. Harris
Roberto Moresco
Cathy Schulman
Bob Yari |
Screenwriter:
Paul Haggis |
Review
Paul Haggis, penner
of last season's Oscar-winner,
Million
Dollar Baby, combines two of the structurally most tricky
approaches to film narrative in his second cinematic feature, Crash:
ensemble casting and quilt-storytelling. At its best, this can be
remarkably rewarding (notably Todd Solondz'
Happiness),
but it can also become too daunting and heavy (as with P. T. Anderson's
Magnolia).
Haggis, however, manages the trick to both give his characters time and
at the same time keep his film tight, largely due to the brilliant
editing by Hughes Winborne (who'll be a big Oscar-favourite).
That being said,
Crash isn't only about structure. This is a movie with an agenda.
Not a particularly well-hidden one, but definitely a very well discussed
one, as Haggis takes a look at L.A.'s many ethnicities and the clashes
between them (at times one might wonder if the entire lives of these
people concerns racial issues, but then again, I guess that during a day
in a society as multi-cultural as Los Angeles, you do find
yourself in quite a few situations). What is remarkable with Crash
is how open-minded, examining and multi-layered approach the film takes
to this problem. I can't think of a single movie that goes deeper than
Haggis does here when it comes to the issue of racism (or any other
issue, for that matter). Haggis' script conveys complexity without ever
being in pursuit of problems. It is thus one of the most intelligent of
the year.
At times, Crash
is on the verge of overkill, and there are situations in which the
characters border on overreacting (which was a more prominent problem
with the before-mentioned
Million Dollar Baby), but these are
only minor details compared to the potency and relevance of this
terminally thought-provoking film. The acting is fine all over with
particularly wonderful performances by Don Cheadle (who is about to
establish himself as Hollywood's leading African-American actor),
Terrence Howard, Thandie Newton and Matt Dillon. The latter two enjoy
two of the films most memorable scenes together. These, and a couple
more isolated scenes are arguable the most dramatically powerful you'll
see this year.
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