Crash: Be ready to ponder.

Rating: 8/10 (7 October 2005)

From Oscar-nominated screenwriter Paul Haggis ("Million Dollar Baby") comes his directorial debut, the adult drama "Crash", a project that is nothing if not ambitious,commenting on many of the powerful and controversial themes that drive America and the world.
"Crash" tells its complex story in fractured vignettes, as the non-traditional narrative tracks over a dozen main characters through a day in their Los Angeles-based lives, all of which are intertwined one way or another. Most of these parts are played well by recognizable faces, if not names, a wise decision that makes tracking the various participants very easy. These characters are a mix of blue collar workers like cops, locksmiths, and store owners, in addition to upper class people like a district attorney and a television producer. The impressive part of this massive character list is that although harsh and gritty, few if any of the portrayals are full stereotypes. Portions of many might be considered trite, but even those characteristics are addressed within the context of the film.
With fathers, mothers, brothers, daughters, these characters collectively provide something for everyone to latch onto as they create some of the frankest discussion you will ever see on film. In doing so, the words avoid being gratuitously explosive, instead casually fitting into the ongoing events, as though the sometimes shocking statements are just normal conversation. In fact, I don't think it uncommon for many of the words to be spoken or pondered in private daily interaction. However seeing and hearing them emanate from the big screen is an entirely different beast, as the movie elucidates many of the thoughts and words nobody will publicly claim.
Addressing touchy issues is a dangerous venture, but one that ultimately rewards more than restraint would have. Race and racism are the explicit themes that have garnered headlines, but beneath it all lies anger. One character poignantly comments on waking up angry for no apparent reason, and that is the root problem that lingers both within the film and within the viewer. Leaving the issue at racism (etc.) would have made for a decent film in itself, but pushing one step further thematically does likewise with the film, making it that much deeper, like the conversations you can have with a close friend as opposed to a casual acquaintance. Mix in the always potent themes of family, life, and death, and you have a film that at some point strikes to the very core of anyone.
The power of "Crash" stems from that introspection it triggers, encouraging the viewer to examine his own thoughts, motives, and reactions. This brings "Traffic" to mind, even though "Crash" lacks the powerful dramatic story arcs of Steven Soderburgh's work. The narrative here occasionally overwhelms emotionally, but does so inconsistently, perhaps because the constant moving between numerous tales slightly retards the emotion. From the intertwining story arcs to a song playing over the final act resolution to a strange something falling from the sky, the film most reminds of "Magnolia", but without any sort of emotional upswing at the end. "Crash" won't leave you feeling as optimistic, although it will make you think more.
Accentuating the penetrating narrative is the tight cinematography. Gone are most of the usual scene-setting wide shots, smartly and cleverly replaced by cuts that switch locations by using congruent shots, such as tight images of two separate people opening a door. Close-ups of faces and hands permeate the picture, subtly but greatly adding to intimate nature of movie, emphasizing the personal level at which the story best connects. Also enhancing the mood is the soft bluish color palette, similar to the also L.A.-based "Collateral". But instead of the slick high definition video dominant in Michael Mann's picture, James Muro's frequently hand-held shots are grittier, reflecting the coarse lives and thoughts of the characters.
Typical cinematic story lines need the questions raised within the film to be answered (ahem..."War of the Worlds"...ahem). Films like "Crash" excel precisely because they leave the viewer to ponder the posited questions. Equal parts social commentary and observation, this is one of the more daring films of the last few years, Bottom Line: If you take the chance to see it, properly prepared mentally, you won't be disappointed; you will be pleasantly surprised on numerous levels. 8 of 10.