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Crash-2005

Crash-2005

Director Paul Haggis

Starring Matt Dillon, Thandie Newton, Don Cheadle

Scott’s Review #799

Reviewed August 3, 2018

Grade: A-

A superior film that has unfortunately suffered greatly after controversy, Crash (2005) is a story of intersecting vignettes all interrelated.

The controversy stems from the film’s very surprising Oscar win over the heavily favored Brokeback Mountain. Many thought the latter was a shoo-in, poised to set the LGBT genre ahead of the game.

Sadly, now when Crash is discussed by film lovers, it’s usually in tandem with Brokeback, and usually on the heels of its having stolen the Oscar crown.

On its own merits, the film excels as a social story exploring the many facets of race, racism, and bigotry.

The events in Crash take place within one thirty-six-hour day in metropolitan Los Angeles. Featuring a slew of characters that would even impress Robert Altman, the audience witnesses situations involving many races and backgrounds.

We meet Rick and Jean Cabot (Brendan Fraser and Sandra Bullock), a white affluent couple who are carjacked when driving home from dinner. The black men who carjack the couple then strike a Korean man and bring him to the hospital.

A racist police officer, John Ryan (Matt Dillon), cares for his troubled father who cannot afford insurance. A Persian father and daughter wish to buy a gun for protection, and a Hispanic father (Michael Pena) worries about a rash of drive-by shootings.

The stories go on and on as a myriad of the characters come into situations involving other characters.

The interconnecting stories all cascade into overlapping situations of interest. The point of Haggis’s film is racism but with a creative twist.

The director points out and shows that those who are racist have good qualities too and those who are discriminated against in turn discriminate against others themselves.

The most interesting character is Dillon’s, John Ryan. On the surface a racist, wise-ass, who in one scene embarrasses an affluent light-skinned black woman (Thandie Newton), simply because he carries a gun, then ends up saving her life in a horrific car accident.

But is he redeemed? Does he see the world as black people getting ahead and he is left behind? What about the Persian man, discriminated against, but then vowing revenge on a Hispanic man after a misunderstanding?

The black men who carjack the white couple then release a group of immigrants who will surely be sold, perhaps even for sex trafficking. Does this act make the men good?

The point that Haggis makes is that each character is neither all good nor all bad, but rather complicated and nuanced with emotions based on past experiences and discrimination themselves.

Crash is highly similar to Traffic (2000) and Babel (2006) in terms of pace, style, and the way the stories align. The film is different, however, in that the location is strictly confined to Los Angeles, making the setting of monumental importance.

How would events be different in a setting like Middle America? Or in a different country? These possibilities are worth contemplating based on the perception that Los Angeles is one of the most diverse cities in the United States. If racism occurs there it can occur anywhere.

Now more about that pesky Oscar controversy! In later years critics would largely agree that the inferior film had won that year and Brokeback Mountain lost due to a level of homophobia on the part of the voting academy.

Since the academy is filled with Hollywood liberals, albeit of an older generation, an alternative way of thinking is that perhaps Crash won because it was the “safer” film.

Everyone seems to have forgotten the other three nominated films that year. Alas, Crash is permanently marred for winning Best Picture. It would undoubtedly have more supporters had it lost.

Ranked as one of the lowest-scoring Best Picture winners, I still believe Crash has some worth- though I agree that it should not have won over Brokeback Mountain.

Taken on its own merits the film is quite good. A message film with great atmosphere, it succeeds in making the viewer think and ponder perhaps their discrimination, whether conscious or subconscious.

The ensemble acting and character representations are all very good and worthy of a second watch.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Paul Haggis, Best Supporting Actor-Matt Dillon, Best Original Screenplay (won), Best Original Song-“In the Deep”, Best Film Editing (won)

Independent Spirit Award Nominations: 2 wins-Best Supporting Male-Matt Dillon (won), Best First Feature (won)

The Tale Of The Princess Kaguya-2014

The Tale Of The Princess Kaguya-2014

Director Isao Takahata

Starring (Voices) Chloë Grace Moretz, Darren Criss

Scott’s Review #430

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Reviewed June 23, 2016

Grade: B+

The Tale Of The Princess Kaguya is a Japanese animated film released in 2014.

It is a unique film- mixing elements of fantasy and drama- stunning to experience and appreciate from a creative perspective. Unusual still is the lengthy running time of two hours and seventeen minutes- animated films are typically on the short side.

This is not to say that it drags, although I found it helpful to view it in segments.

Originally made in Japanese, the film has been dubbed in English and features recognizable voices such as Mary Steenburgen, Lucy Lui, and James Caan.

A bamboo cutter, Miyatsuko, discovers a baby girl inside a bamboo tree one day. He and his wife consider her a divine presence and keep her as their own, naming her Princess Kaguya.

Mysteriously, she begins to grow and develop at an alarming rate and is the wonder of the village. Kaguya develops a playful crush on Sutemaru, a handsome peasant.  Kaguya, led by her parents, is taken into a life of nobility and wealth as her destiny.

Her governess attempts to mold her into a regal Princess, but Kaguya is a wandering, free spirit, and rejects the formalities of this life. Her myriad of wealthy suitors counters her feelings for Sutemaru.

From a story perspective, the film shines, as the conflict over wealth versus poverty is explored. Kaguya’s parents are not greedy, but they want her to receive just desserts and a life free of hardship- as they are used to.

They want something better for her.

One can relate to the parent’s views, but Kaguya feels differently. She wants freedom, love, and happiness, not a life of rules, procedures, smoke and mirrors.

The filmmakers present the viewpoint of someone “other-worldly”  observing and analyzing planet Earth, warts and all, so the film has a message. It is not cliched or overbearing in its approach though-merely honest and sincere.

Every frame in the film appears to be a gorgeous drawing- not conventional, fast-paced animation, but classic, muted, pastel-type colors are used, giving it a softer touch, which astounded me.

If one is not into the story (tough to imagine), one could easily sit back and marvel at the spectacle.

The growing trend in animated films seems to be a return to traditional drawings- think Rudolph the Red-Nosed Reindeer from the 1960s- as evidenced by The Tale Of The Princess Kaguya and Anomalisa (2015), two recent animated features receiving critical acclaim.

This is music to my ears as these are far superior to the redundant, CGI-laden films.

Oscar Nominations: Best Animated Feature Film