Crash
I went for Crash last weekend, and the movie was brilliant. I could say that movie was the only one good thing happened to me during the weekend. The movie made me to feel good. I can't say that the movie has changed the way I think but it has left an impression that everybody you meet will have a good side or atleast that is the best thought to start with.
I liked that brilliant dialog which defines the name of the movie: '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.'
And one more which Sandra (She was brilliant) tells her husband: 'I am angry all the time... and I don't know why.'. I just felt that was coming from my mouth. :)
I have found the following review which I read it in a blog interesting.
The movie is a set of stories, some unrelated to the other, about how racism exists in society. And it shows that everyone – no matter how bad they may appear -- has a good side too.
For example, Matt Dillon (in a brilliant performance, well worth his Oscar nomination), plays a racist cop who intercepts a coloured couple and molests the wife (Thandie Newton) in front of her husband (Terrance Howard).
Later, when she’s fighting death in a car crash, Dillon comes to her rescue. When she sees him, Newton actually prefers death to being saved by him. In a very touching scene, Dillon determinedly gets her out of the car, putting his own life in danger.
The way director Paul Haggis introduces his characters is unusual. You would not give the Hispanic locksmith (Michael Pena) in Sandra Bullock’s home another look after she rants and raves about how he might circulate the house keys to his ‘amigos,’ and rob her home. But he has a story to tell as well.
His world is ruled by his five-year-old daughter, who he’s so afraid of losing.
Then one day, he is almost shattered when an Iranian storekeeper – who blames Pena for losing everything he’s ever worked for – opens fires on him, and his daughter gets caught in the crossfire.
Dillion’s cop partner (Ryan Phillippe) may not jump out of the screen in his first scene. But Haggis develops his character beautifully, and we applaud Phillippe when he changes his partner at the risk of demeaning himself.
But Crash has no villains. Only real people. You would not hate the Iranian storekeeper for shooting at the child. Instead, you would really feel for the man, whose store has been ransacked, and the insurance will not cover it.
You would not hate Dillion for molesting the woman. You would feel sorry for him and his old father, who cannot get relief or treatment from prostrate cancer, thanks to a bureaucratic Black woman.
And even though Phillippe appears so moralistic, he is really not perfect at all.
Don’t miss this fabulous movie!
I liked that brilliant dialog which defines the name of the movie: '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.'
And one more which Sandra (She was brilliant) tells her husband: 'I am angry all the time... and I don't know why.'. I just felt that was coming from my mouth. :)
I have found the following review which I read it in a blog interesting.
The movie is a set of stories, some unrelated to the other, about how racism exists in society. And it shows that everyone – no matter how bad they may appear -- has a good side too.
For example, Matt Dillon (in a brilliant performance, well worth his Oscar nomination), plays a racist cop who intercepts a coloured couple and molests the wife (Thandie Newton) in front of her husband (Terrance Howard).
Later, when she’s fighting death in a car crash, Dillon comes to her rescue. When she sees him, Newton actually prefers death to being saved by him. In a very touching scene, Dillon determinedly gets her out of the car, putting his own life in danger.
The way director Paul Haggis introduces his characters is unusual. You would not give the Hispanic locksmith (Michael Pena) in Sandra Bullock’s home another look after she rants and raves about how he might circulate the house keys to his ‘amigos,’ and rob her home. But he has a story to tell as well.
His world is ruled by his five-year-old daughter, who he’s so afraid of losing.
Then one day, he is almost shattered when an Iranian storekeeper – who blames Pena for losing everything he’s ever worked for – opens fires on him, and his daughter gets caught in the crossfire.
Dillion’s cop partner (Ryan Phillippe) may not jump out of the screen in his first scene. But Haggis develops his character beautifully, and we applaud Phillippe when he changes his partner at the risk of demeaning himself.
But Crash has no villains. Only real people. You would not hate the Iranian storekeeper for shooting at the child. Instead, you would really feel for the man, whose store has been ransacked, and the insurance will not cover it.
You would not hate Dillion for molesting the woman. You would feel sorry for him and his old father, who cannot get relief or treatment from prostrate cancer, thanks to a bureaucratic Black woman.
And even though Phillippe appears so moralistic, he is really not perfect at all.
Don’t miss this fabulous movie!
posted by Phoenix at 8:02 PM
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