Director: Paul Haggis
Cast: Sandra Bullock, Don Cheadle, Matt Dillon, Jennifer Esposito, William Fichtner, Brendan Fraser, Terrence Howard, Chris ’Ludacris’ Bridges, Thandie Newton, Ryan Phillippe, Larenz Tate, Michael Peña, Shaun Toub
Screenplay: Paul Haggis and Bobby Moresco
Ryan Phillippe, Crash
Crash, screenwriter Paul Haggis’ multiple award-winning directorial début, is set in a Los Angeles that is part Quentin Tarantino, part Paul Thomas Anderson, part Spike Lee, and part Bret Easton Ellis. Haggis’ L.A. is also a place that has precious little in common with the Southern California metropolis located on Planet Earth.
Watching Crash, we learn that the Angeleno boiling — definitely not melting — pot is about to explode at any moment. According to Haggis and co-screenwriter Bobby Moresco, Los Angeles denizens spend all their spare time hating, fearing, misunderstanding, and cheating on one another. And perhaps much of that is true, except that most of that hate, fear, misunderstanding, and cheating have absolutely nothing to do with ethnic or national differences. But not in Haggis and Moresco’s L.A., where everything revolves around skin color and nationality.
Subtlety is a word that is unfortunately missing from Haggis’ film dictionary. Million Dollar Baby, which he adapted for the screen, features mostly one-dimensional characters, while Crash is chiefly a parade of ethno-oriented verbal and physical assaults interspersed among different subplots tied together by contrived "coincidences."
Thus, we go from the heavily accented Chinese lashing out at white Americans who then lash out at black Americans who lash out at other white Americans who lash out at Iranians who lash out at Hispanic Americans who apparently work so hard they don’t have the energy to lash out at anyone. At the other extreme, Sandra Bullock, the epitome of white, bourgeois racism and xenophobia, has plenty of time to lash out at just about anyone who doesn’t look or sound like her.
On the positive side, Crash boasts a number of solid performances, particularly those of Matt Dillon and Ryan Phillippe as police officers, Chris ’Ludacris’ Bridges (above, on the right, with Larenz Tate) as a race-obsessed thug, and Thandie Newton as the high-strung wife of a television director. Additionally, Mark Isham’s affecting minimalist score and the production’s generally excellent technical credits help to add depth to Haggis and Moresco’s screenplay. Yet, none of those elements — or the couple of plot twists that ring true — are enough to lift Crash out of its inherent simple-mindedness.
At the end of the film, instead of frogs falling from the sky à la Magnolia we get some much-needed snow to cool things down. The melting pot will keep on simmering, but the heavens won’t let it explode into a zillion pieces. Considering all the psychopaths who inhabit Haggis and Moresco’s Los Angeles, that is just too bad.
Note: A version of this Crash review was initially posted in February 2006.
3 Academy Award Wins
Best Film: Paul Haggis, Cathy Schulman
Best Original Screenplay: Paul Haggis, Bobby Moresco
Best Editing: Hughes Winborne
3 Academy Award Nominations
Best Direction: Paul Haggis
Best Supporting Actor: Matt Dillon
Best Original Song: "In the Deep," Kathleen York (music/lyrics); Michael Becker (music)