Ensemble cast makes "Crash" excellent

Matt Dillon plays a veteran Los Angles cop in the new film "Crash." His anger and jealousy are racially manifested in the cruelest of ways toward a young black couple early in the story, when he subjects Christine (Thandie Newton) to a form of sexual harassment that is both original and horrifying. But this is not the pivotal moment in the arc of Dillon's narrative, which the viewer finds later in the film when he comes across a burning car wherein Newton is trapped and in desperate need of a rescuer. By far, the most successful and dramatic sequence in the film is neither the most simple nor the most easily explained. His reaction to the situation is both the theory and motive behind Paul Haggis's directing debut, a startling and refreshingly original look at the complexities of human relationships and perceptions of race in modern day America. \nI recently saw Haggis in a TV interview in which he explained to the talk show host that, living in L.A., one can witness both the kindness of human nature, and the devastating toll that racism and intolerance can take on the day-to-day life of a city. He described it as though it was a disease, something that affects not only people, but the city itself, deteriorating the human condition. However, he went on to explain that in living in L.A. he has discovered that racism is not simply a black and white issue. He said that people are three-dimensional, and so are the actions they take. Unlike the certainly dozens and maybe even hundreds of movies that have been made about race relations, Haggis's film dares to take a closer and unflinching look at what makes people do the things they do. And in this, his characters take on a multi-dimensional complexity; he does not simply reduce the small-minded bigot to a well-defined and culturally accepted stereotype, nor does he slot the idealist as a kind and open-hearted hero. \nAs a mainly independent feature, Haggis caught a break when casting Don Cheadle early, attracting other big names like Ryan Phillipe, Sandra Bullock, Brendan Fraser and Ludacris to the project. An ensemble feature, it follows several storylines in and around today's L.A. This may sound familiar to many, especially fans of Robert Altman or P.T. Anderson, and indeed the film does not escape without some minor flaws, most notably a few scenes that "borrow" ideas from films by the aforementioned directors. But the script is genuine and well-written, and the dialogue is true. Take for example a moment when a Hispanic locksmith tries to convince an Iranian store owner that his door needs fixing, not his lock, and the world-weary Iranian automatically assumes the locksmith is cheating him. We watch this scene with sadness and compassion for both characters; the locksmith because he is just trying to do his job and the Iranian because we understand how his experiences with Americans have left him jaded and untrusting. \nThe actors are all very good in their roles, with two remarkable performances by Matt Dillon and Michael Pena as the Hispanic locksmith working night and day to support the young daughter he loves with an almost painful acuteness. Pena's story maintains a complete and very distinctive quality, and I felt convinced his narrative alone would have made for a great film if expanded upon. \nIf you get the opportunity or are interested in seeing a film that not only asks the right questions, but also provides the right commentary, then see "Crash" and become a better person in the process.