I honestly thought Paul Haggis was a better writer than this. After all, it was his script – a first draft no less! – that became Million Dollar Baby, the Oscar-winner a year before the release of Crash.
According his entry on Wiki, “Paul Haggis is the award-winning filmmaker who, in 2006, became the first screenwriter, since 1950, to write two Best Film Oscar winners back-to-back – Million Dollar Baby (2004) directed by Clint Eastwood, and Crash (2005) which he himself directed.”
That’s quite an accomplishment. A tremendous honor. My hat is off to Mr. Haggis.
However, Crash is a heavy-handed, blunt-instrument of a movie that’s supposedly a bold statement about racism. Or something like that. In using a hand-held camera for much (if not all) of the film, and by peppering the movie with as much anger and swearing as possible, I can only assume that Haggis was attempting to capture stark reality, a vivisection of life in L.A. that demonstrates to one and all that racism exists in everybody (mostly white people, though). Yet, at best, this film offers an uneven verisimilitude that never reaches whatever lofty ideal Haggis had in mind.
This is Hollywood’s view of racism…complete with foul-mouthed, N-word-spewing, car-jacking black guys, paranoid, uptight, upper-class white guys, racist cops, short-tempered, racist Middle-Eastern guys – you name it. Racism, racism, racism. From every pore of every human being in this movie. Blacks against whites. Whites against blacks. Blacks against Puerto Ricans. This is every stereotype ever uttered, every cliche ever read, seen, imagined, heard, watched, and dreamed of all rolled into one dark, dreary, depressing mess.
And then all wrapped up nice and neat, with more warm fuzzies than a box full of puppies.
This isn’t a movie. This is a [Read more →]