Retro Film Review: Crash (2004)

If one were to base their understanding of the world on the typical Hollywood film, they might conclude that there is no existence beyond Los Angeles. This perception could be attributed to the sharp ethnic, social, economic, and cultural divisions that define the city. For many of its inhabitants, particularly those residing in affluent areas like Beverly Hills, certain neighbourhoods and their inhabitants appear as foreign as another planet. This failure to communicate seems to be an endless source of frustration for Hollywood, an institution built on the idea of bridging cultural and other divides. One film that addresses this issue is Crash, the 2004 drama directed by Paul Haggis.

Haggis, who co-wrote the script with Robert Moresco, constructed the plot around a narrative device familiar to those who have seen Robert Altman's Short Cuts and Paul Thomas Anderson's Magnolia. The film begins with Graham Waters, played by Don Cheadle, a passenger in a car driven by a Latina woman named Ria, portrayed by Jennifer Esposito. When they are rear-ended, it is gradually revealed that these two are Los Angeles Police detectives investigating the murder of a young black man. The remainder of the film depicts the 36 hours leading up to this event, introducing a multitude of characters, each belonging to different racial, class, ethnic, or social groups. These characters are inadvertently connected, and a series of vignettes, some featuring violent and unpleasant incidents, describe their interactions, often highlighting racism and other forms of prejudice.

Haggis, best known for his work as the scriptwriter for the overrated and "Oscar"-awarded Million Dollar Baby, demonstrates his directorial skills. Despite the complex structure of the plot, it remains easy to follow, and the characters are intriguing. The cast is exceptional, with many actors playing against type, such as Brendan Fraser as a faceless politician and Sandra Bullock as his bourgeois, snobbish wife. The most pleasant surprise is Michael Peña's portrayal of a young Mexican locksmith, the only character with whom the audience can identify without feeling uncomfortable.

Crash is well-acted and well-directed, but its script is flawed. Haggis has constructed the plot around a series of often implausible coincidences, more suitable for misanthropic black comedies than dramas aiming to reveal important truths about real life. There were better ways to convey the idea that everyone in Los Angeles is connected. The dialogue also leaves much to be desired, with characters frequently delivering long expository speeches that sound unrealistic. This begins with Graham's poetic monologue at the outset and continues throughout the film, particularly in scenes where characters address issues affecting their social or ethnic groups. Mark Isham's musical score also undermines the film's realism by emphasising pathos at inopportune moments. The quasi-biblical ending, borrowed from Magnolia, further underscores the impression of plot artificiality, but by this point, its impact on the film's quality is minimal.

While Crash occasionally feels more like a sermon than a genuine film, its powerful scenes and displays of great talent make it worthy of recommendation. In 2006, Crash won the Oscar for Best Picture, but this triumph turned out to be a poisoned chalice for its long-term reputation. The main reason for this was the snubbing of the heavily favoured Brokeback Mountain, allegedly due to the Academy's hidden homophobia. As a result, Crash became the most despised among 21st Century Oscar-winning films, at least among "hip" and "bien pensant" critics.

Such a reputation, just as its initial Oscar success, is undeserved. In 2008, Crash received a sort of sequel/remake in the form of a TV series starring Dennis Hopper, which remained on air for two seasons.

RATING: 6/10 (++)

(Note: Original version of the review is available here.)

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