I am a fan of movies that blur.  No I don’t mean that the physical aspects of the film are out of focus rather those that take the simplistic definitions and perceptions of how things are and then run them together in an intelligent and often ironic sort of way.  Crash is a film that takes irony and mixes it all up until we can barely tell who or what we initially defined and leaves us wondering if we ought to think a little more or look a little deeper before we make rash or harsh decisions about things.  Paul Haggis, the writer of the brilliant Million Dollar Baby, draws on personal experience to mold an emotional intense tale of the effects of prejudice and how, based on actions and situations, that we are all duly guilty and innocent once you look at the whole picture or once the blinders are taken off and the full picture is revealed. 

Crash seems to have multiple influences, both cinematic and realistic.  I remember talking briefly with Haggis about his inspirations for the film, knowing a bit of the back-story but curious about its deeper effects.  It stemmed from a carjacking but this event caused to look a bit closer at things around him.  He noticed that whether we realize it or not, we all have predilections towards racism and preconceived notions based on initial appearance.  All it takes is certain stimuli to bring them out.  He then took all of those observations, mixed in the melting pot that is Southern California and voila.  It begins with the investigation of the death of a young man by a detective (Don Cheadle) and then works back over the previous 24 hours to reveal the complicated circumstances that brought this event and others to fruition.  Without revealing too much and stealing the films thunder, there is a carjacking of the district attorney of Los Angeles by two black men, a questionable traffic stop of a television producer, an investigation of a shooting, a firearm purchase and subsequent robbery, a locksmith whose motives are questioned at every turn and two police officers; veteran and newbie, who appear to have differing perceptions and motives of their responsibilities.  These are all magically intertwined and woven into an ugly and frighteningly realistic mosaic of existence not just in L.A. but also in a world that most of us know exist but few want to admit really does.  In Magnolia-esque form, the stories all tie together with a comfortable ease.  There is a danger in multi-layered stories of over focusing on certain aspects, forcing or rushing the issue or trying to create an emotion that would not naturally occur.  Haggis does none of this.  As he showed in Million Dollar Baby, he is a master storyteller whose greatest gift may be that of timing and patience. He has a story to tell.  He knows the beginning, he knows the end and he knows the power and moral from the start.  He never feels the need to push the issue and instead lets the story tell itself at its own pace.  In doing this, he gives the film the necessary consistent flow, which in turn gives it the impact, influence and desired effect by its conclusion.  If you want a shorter summary, imagine that great scene from Spike Lee’s Do the Right Thing stretched out naked over 105 minutes and you’ll scratch the surface. 

With an amazing ensemble cast, it may seem difficult and even unfair to evaluate performances because Haggis has balanced things so wonderfully.  Each has their own place; their own patch in the quilt and each is necessary even though some stand out more than others while some are there just to hold the consistency of things.  Fraser and Bullock are probably the least used and therefore seem to be a bit wasted though Bullock does play embittered and angry quite well.  Rapper Bridges and Tate as street thugs with brains, Howard as the producer and Newton as his wife, Dillon and Philippe (who, it turns out, can act) as the cops, Cheadle with the films most off-hand but interesting line, are just a few of the patches that effectively and intensely hold the film together.  Each is necessary, each has their impact and moment to shine and each takes the spotlight holds their own and then passes the torch.