Crash

by

debbie lynn elias

A car crash. A body on the side of an LA roadway. An intersection. A crossroads. A passing detective who stumbles on the crash and the body. And so our story begins.

48 hours earlier, District Attorney Rick Cabot and his wife Jean are car-jacked by two African-Americans. Successful African American television producer Cameron and his wife Christine are stopped by LAPD Officers Ryan and Hanson. Iranian immigrant Farhad, who has purchased a gun for protection, puts in a locked drawer which locksmith Daniel, a Hispanic, is trying to repair. And Detective Graham Waters and his partner Ria are investigating a shooting in Downtown LA.

Three distinct stories compose the backbone of the film, however all the characters affect each story either directly or inferentially. First, is the car-jacking which is premised on under-privileged, lower class African American youths stealing from whom they believe to be "rich, white folks." The whole experience sends socialite Jean Cabot into a raging tirade about safety and the "classes." Enter Detective Graham and partner Ria who are called upon to investigate not only the car-jacking but the second plot line involving racist LAPD Officer Ryan and his fresh from the Academy partner Hanson and the racially stemmed harassment they have inflicted on our television producer and his wife, which contributes to arguments and the eroding of their marriage. Third, we find locksmith Daniel subjected to the rantings of shop owner Farhad, himself having suffered through years of oppression, despair and hatred because of his ethnicity.

Written and directed by Paul Haggis, the film’s underlying themes of racial discrimination and racism is a powerfully, volatile, in-your-face look at the world in which we live. Although premised with distinctly separate storylines and characters, you can feel the eventual merging - or whitewashing - of pre-conceived societal notions as Haggis shows how everything - and everyone - is connected. From the moment the film begins, emotional chaos blossoms as each character is forced to face their own inner fears and prejudices as each is ripped from the safety of their own comfort zone and put into circumstances in which they must chose to continue to play by their own rules or open their minds and take the other fork in the road in these seemingly random twists of fate. Key to the success of these intertwined events and characters is Haggis’ ability at conversationalism and the open-mouth-insert-foot mentality that so many of us have. We think it. We say it. And by so doing, w! hat could have so easily been interpreted as hate, comes across as heat-of-the-moment interjections that quite often have a slightly humorous take given our respective social naivete.

Contributing to the success of the format is the extensive use of hand-held cinematography that not only enhances the raw, edgy emotion of the film, but helps build the tension and anxiety, giving an unprecedented amount of uncertainty to the outcome of each and every scene. Cinematographer James Muro, who gave us some dazzling work in "Open Range", does an equally superb job here in a much darker, yet just as impactful, character study.

But above all, what takes this film from beyond good to great is the cast, with what are some of the year’s first standout Oscar-worthy performances, most notably from Don Cheadle as Detective Graham, Sandra Bullock as socialite Jean Cabot and Matt Dillon as Office Ryan. Cheadle, who may have more screen time than any other is a rational, even calming presence throughout the film, putting him almost above the fray of what is occurring around him. Bullock on the other hand, has minimal screen time but all it takes is one emotionally charged scene that has you forgetting there is anyone else in this film but for her. In fact, she is so riveting that you may yourself forget to breathe. Quite frankly, this may be her finest piece of work ever. And as for Dillon, he is a carefully balanced dichotomy of frighteningly chilling and struggling sensitivity. One scene appearances by Tony Danza and Keith David are also beyond reproach and are intricately interwoven so as to be not only! boldly expressive but essential to the overall plot. Disappointingly, Brendan Fraser, is the one actor who seems to be wasted in his role as Rick Cabot. Not having any pivotal moments and more or less being relegated to the background, Fraser’s presence is missed.

Expertly crafted, perhaps the one flaw is that the film is too short. Intensely riveting, the film may have benefitted from an additional 45 minutes or so just as a springboard to flesh out some of the more nuanced aspects of each plot and character (something I fully expect to see in the DVD).

Thought provoking, compelling, intelligent, coherently crafted and reality based and laced. Look for Paul Haggis and his cast of characters to be on everyone’s lips come Oscar 2006.

Sandra Bullock: Jean

Brendan Fraser: Rick

Don Cheadle: Detective Graham

Matt Dillon: Officer Ryan

Terrence Howard: Cameron

Thandie Newton: Christine

Ryan Phillippe: Officer Hanson

Directed by Paul Haggis. Written by Paul Haggis and Bobby Moresco. Rated R. (100 min)