Some critiques of the movie Crash
Posted by thuicc on March 18, 2006
Since Crash is about race relations in the U.S., and since it won the Oscar for Best Picture, it’s probably something that students of intercultural communication should see to find out what it’s saying. So I borrowed the DVD a week ago and watched it.
I was not particularly impressed with it, I have to say, although I generally like movies that Matt Dillon is in. It seemed too preachy to me–it was more like an essay than a movie. I was also troubled by the treatment of Asians in the movie. There are a couple of posts on the blog Mixed Media Watch that also have critiqued Crash‘s portrayal of Asians (see here and here. They point out that the major characters in the film–black, white, and Persian–appear to be redeemed (to an extent, I’d say) by the end of the film, and the Latino characters don’t seem to need redemption. But the Korean characters are stereotyped and unredeemed at the end. They are not portrayed with any complexity at all. As commenter Christine Hong writes,
every other character come full circle, gaining some measure of redemption, except for the asian couple. the audience sees no resolution to their sinfulness whereas the sins of the other characters have some sort of reason or explanation. i am so conflicted about this movie. i am saddened because once again asians are left to the wayside, left there to rot in the unfavorable context in which the writer and director as created for them. it is apparent that writers and directors who do these kinds of films don’t give a shit about the whole truth of asian american lives. by no means are we flawless, but damn it, i wish someone would give us some measure of respect as human beings.
MMW also has a critique of the movie’s Oscar win here.
American movie critic Roger Ebert defends Crash, calling it
a movie of raw confrontation about the complexity of our motives, about how racism works not only top down but sideways, and how in different situations, we are all capable of behaving shamefully.
Now, I’m sure that people are complex and that everyone is capable of behaving badly, as Ebert says. But I can just as easily look at that Matt Dillon character (the racist cop) and say to myself, “Well, I’m not racist because I would never do the things he does.” And I can look at the Ryan Phillippe character (the cop who doesn’t think he’s racist) and say, “Well, I’m not racist because I wouldn’t shoot a hitchhiker (actually I wouldn’t even pick up a hitchhiker).” So the liberal white guy can come out of this feeling good about himself, not necessarily being challenged about any racism that lurks under the surface in his mind.
Derik Smith, writing in The Black Commentator (via MMW), argues that the movie “relies upon and covertly promotes social narratives that are problematically racist”:
It seems that, upon finally reaching an era in which polite company forces most to acknowledge that racism is inexcusable regardless of circumstance, America’s favorite “race movie” is now asking us to temper our judgment of the embattled figure of the bigot.
Smith also points out that one of the main black characters in the film, a carjacker named Anthony (played by Chris ‘Ludacris’ Bridges), actually says some very “thought provoking” things about the situation of African Americans in the U.S.:
He thinks that white, corporate America may stand to benefit from the rampant use of the word “nigga” in contemporary hip-hop; he wonders why the names of black revolutionaries have been lost to history; and, although he’s a thief, he doesn’t want to steal from his own people.
But the movie doesn’t encourage us to accept those ideas as valid:
Yet almost as soon as they are uttered, Crash makes them laughable. The politicized commentary of the paranoid black man is framed in such a way that it ends up becoming the movie’s most consistent source of comic levity.
No conclusion here, just some things to think about if you get to see the movie.
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