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Title: Crash
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Picture this: A man is driving home from work one day. His life has no purpose. His life has so little purpose, in fact, that at work he risks the security of his job by having sex with women in the closet. While he has sex with women, it appears to be more of him trying to fill his life of unhappiness with that of false pleasure. This is not what I wanted you to picture, this is just the set up. I now want you to picture this man crashing his car into someone else’s car. Before he loses consciousness he looks up and meets the woman he has just hit face to face. The next day at the hospital, while walking through the hall, the two run into each other. They look at each other, silently, scarred from the crash with wounds that are likely to never heal. The woman clutches her cane, you can tell she wants to strike. She doesn’t. She simply walks away, neither one having spoke a word to each other.
It’s openings like these why I cite David Cronenberg as a masterful director. This opening scene is uncomfortable to watch, extremely brutal and cruel, yet it’s storytelling on a level that is higher then even some of the best directors out there. The directing for this film, which is simply, and appropriately named, “Crash” (not to be confused with Paul Haggis’s Oscar winner) is on a higher level of skill. It’s subtle in it’s execution, yet it’s also in your face, forcing you to watch things you don’t want to watch and demanding you get emotionally involved. I did, for awhile, though the film started to lose me at the half way point. While I praise the superb directing of Cronenberg, I must say he might be too much in love with his directing, as the storyline and the characters become confusing shortly after the introduction, and then simply become insane.
This is a movie not about likable people, but people who seem to crave dangerous situations that is bound to destroy them. Sex is a key player in this film. The characters have sex all the time. From heterosexual, to homo, to bi, nothing is off limits for these people. Sex is a big addiction for these people. Almost as much as their addiction to crashes. And this is where the film truly lost me. For some reason, getting into that car accident set something off in these people, because they get into car crashes all the time. Sometimes they’ll even buy the exact same car they crashed in, only to crash that car later on. When they aren’t crashing cars they are having sex. In public places, and almost always passionless.
After awhile I just couldn’t take it anymore. These are sad, sad people who need something in their lives. Whether that be religion, friends, or cable TV. Are these people doomed to live their monochromatic lives for all of eternity? Most likely. If the highly bazaar (and disturbing) ending suggests anything at all, these characters will only grow in their sexual addiction, get into worse car crashes, only to never get out of the dark hole they’ve dug for themselves. While I admired the craft of the film making, there comes a point where you just can’t go down the path the director wants to take you. The road, in this case, was that of pure evil and sickness.
- -Review By Kevin T. Rodriguez- -
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