Acting under the cover of a Hollywood producer scouting a location for a science fiction film, a CIA agent launches a dangerous operation to rescue six Americans in Tehran during the U.S. hostage crisis in Iran in 1980.
Over a thirty-six hour period in Los Angeles, a handful of disparate people's lives intertwine as they deal with the tense race relations that belie life in the city. Among the players are: the Caucasian district attorney, who uses race as a political card; his Caucasian wife, who, having recently been carjacked by two black men, believes that her stereotypical views of non-whites is justified and cannot be considered racism; the two black carjackers who use their race both to their advantage and as an excuse; partnered Caucasian police constables, one who is a racist and uses his authority to harass non-whites, and the other who hates his partner because of those racist views, but who may have the same underlying values in his subconscious; a black film director and his black wife, who believes her husband doesn't support their black background enough, especially in light of an incident with the racist white cop; partnered police detectives and sometimes lovers, one Hispanic female ... Written by
Was the first Best Picture Academy Award-winning film to be released on the then newly introduced Blu-ray format. See more »
When releasing the illegal Asian immigrants from the stolen delivery van, the internal cage door is open. In the next shot, it is already closed when the outer van doors are shut, even though nobody closes the cage. See more »
It's the sense of touch. In any real city, you walk, you know? You brush past people, people bump into you. In L.A., nobody touches you. We're always behind this metal and glass. I think we miss that touch so much, that we crash into each other, just so we can feel something.
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Producers gratefully acknowledge the valuable assistance of The Culbert Family; Members of the Actors Gym, Hollywood, California. See more »
Bold and Compelling Treatise on Racism in Modern Society
Take the pop-cultured infused socio-political discourse of a Spike Lee movie, the glossy grit of a Michael Mann LA crime story, and the compelling mosaic story-telling technique of a Paul Thomas Anderson film, and you'll get the "feel" for Paul Haggis' stunning directorial debut. To boil a film like "Crash" down to such terms, however, would do it severe injustice. Powerful and thought provoking, this is the most accomplished and compelling film since "21 Grams" premiered back at the end of 2003.
"Crash" brilliantly shows through intertwining vignettes, that are often blazingly funny in their brutal honesty and fascinatingly gut-wrenching in their melodrama, how subtle racism (often guised in nervous humor) and overt prejudice (often exasperated by sudden irrational violence and an overabundance of readily available firearms) completely permeate our culture and everyday interactions within society. A hyper intelligent script showcases not characters, but brilliant representations of real people, people we know and pass in the street every day, people not unlike us. People who at first seem to be lost causes in the war against racism (witnessed in Matt Dillon's harried beat cop and Sandra Bulluck's spoiled District Attorney's wife) can often become the most unlikely solutions to the problem, while people who ride in on their high horse (witnessed in Ryan Phillipe's noble young police officer) can turn against the tide in the blink of an eye. No one is immune to it no matter how hard they try to rise above it (witnessed in Don Cheadle's quietly tragic detective).
In the end, everyone is flawed, the racism is inescapable, and the audience feels a twinge of sympathy for just about everyone. Perhaps that is what Haggis is hinting at to be our answer. Showing empathy and being able to relate even on the most remote level to every human being out there is the first step to that true brotherhood of man. Because the film offers no real solution, the discussion and discourse it creates in the minds of the viewers is the first step in solving society's ills. We can't tackle everything at once, but we can open a dialogue, and hopefully, one person conversing with another will be the first step to our salvation. It takes a bold film to raise such questions, and an even greater one to compel an audience to talk about the potential answers, and that is exactly what "Crash" accomplishes.
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