Los Angeles. Emotionless people there have to literally crash into each other in order to make a connection. This is the premise of Paul Haggis’ impressive directorial debut CRASH, where a car accident forms the catalyst for different races to interact. The film is comprised of several vignettes; similar in structure to Steven Soderbergh’s drug film TRAFFIC, but it is now racial prejudice that replaces the drug destroying human lives.

The action takes place within the time span of 36 hours. CRASH opens with an accident, then flashbacks to the day before.  The whites in the film are a D.A., Rick (Brendan Fraser) and his bitchy wife, Jean (Sandra Bullock).  Their SUV, stolen by two blacks, Anthony (Chris Bridges) and Peter (Larenz Tate) accidentally runs over a Korean.  A racist cop (Matt Dillon in definitely his best role) and rookie partner (Ryan Phillipe) stop and abuse a black television director, Cameron (Terrence Howard) and his wife, Christine (Thandie Newton).  Writer/director Haggis (Oscar nominated scenarist of last year’s MILLION DOLLAR BABY) moves into the picture more characters.  Interactions occur resulting in life changes and lessons learnt.  The decision of Haggis to bring his film full circle (working with the flashback and time span) instead of ending it with a conclusion is a logical one.

CRASH forces audiences to question their own prejudices.  Dillon has arguably the most important line in the film: “You have no idea who you are!” His characters are not cardboard one-directional but often complex beings that often do not understand themselves.  Bullock’s character quips that she gets up angry every morning and not know why.  Dillon’s racist cop is kind to his father, who has spent his entire life helping others. Yet, when Officer Ryan (Dillon) saves the colored lady he earlier sexually abused, the viewer is probed on the reason of his acting with a change of heart. 

Haggis’ stereotyping of characters – Korean lady (Alexis Rhee) speaks with the typical Asian accent, his blacks speak the street talk and the whites are the high ups in society – could have initially been dismissed as a biased oversight, but Haggis has reason for doing so and takes matters one step further.  The Korean, for example, really does not care a f*** what people think – she just wants to get what she needs.  And often, in life that is all that matters.  Haggis’ characters are intriguing and different enough apart.

CRASH contains many impressively edited (by Hughes Winborne of SLING BLADE) sequences.  The car crash segment with Dillon and Newton is worthy of note.  The different vignettes are appropriately pieced together for pacing and clarity.  The camerawork gives CRASH a professional look from the overhead crane shots to the tracking.  No use of handheld cameras here.  The music used is an effective blend of all sorts reflecting the multiracial feature of the film.  Haggis has a musical composition, GONNA BUY ME A ROPE as well.  Despite the serious nature of the topic, Haggis’ film is not without some wicked humor or sarcasm, mostly provided by actors Bridges and Tate.

Paul Haggis, a native of L.A. himself has drawn on his experiences and has created an impressive first effort.  CRASH packs quite the dramatic punch!