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CRASH COURSE
CRASH (R) Coming on the heels of the Oscar-win
ning Million Dollar Baby, writer Paul Haggis' direc
torial debut, a complex race drama intertwining
the lives of several LA. residents, situates this
former television writer at the head of Hollywood's
2004-2005 graduating class. With a strong,
improbable ensemble and a script balancing
acerbic wit, devastating loss and prickly racism.
Crash generates more sizzle than the heat of early
summer. Starting with a car crash that evolves
into so much more, the film not only asks why bad
things happen to good
redemption is available to any person.
Though Haggis' visual style seems on loan
from Michael Mann (the L.A. of Crash looks a lot
like that of Collateral), his transitions are flawless,
emphasizing the characters' interconnectedness as
he seamlessly traverses this expansive burg.
Haggis also proves every bit as capable with
actors as he is with writing the characters they
portray. His cast, anchored by Cheadle (an actor
of such reliability and talent I feel it unnecessary
to laud him again), contains genuine surprises in
the performances of the
people, but why good
things happen to bad
people and why any
thing at all happens to
anyone at all. Over 36
hours, L.A.'s District
Attorney and his wife
(Brendan Fraser and
Sandra Bullock) are car
jacked; the two car-
jackers (larenz Tate
and Chris "Ludacris"
Bridges) philosophize;
a Persian store owner is
robbed; an African-
American television director and his wife
(Terrance Howard and Thandie Newton) are
harassed by a racist policeman (Matt Dillon) and
his rookie partner (Ryan Phillippe); a Hispanic
locksmith (Michael Pefta) faces losing his
daughter; and a police detective (Don Cheadle)
deals with a drug addict mother and criminal
brother. The decisions and actions of each char
acter affect one another, and nothing is black and
white in this world. No one ts perfect in Haggis'
LA.—White, Black, Puerto Rican—every ethnicity
displays a hint of prejudice, yet, as in life,
Thandie Newton and Matt Dillon
generally affable Fraser
and Bullock. Like a bolt
from the blue, Ludacris,
last seen in 2 Fast 2
Furious, may be the
best rapper to turn
actor since Tup3c.
spouting outlandish,
pseudo-intellectual
racial theories with
such conviction they
nearly seem believable.
In Crash, Haggis has
created a film as
painful as it is
poignant so unpredictable that tears of laughter
turn to grief and then, moments later, relief. Such
emotional involvement is only possible because of
Haggis' incredibly deep, incredibly real characteri
zations. Flesh and blood people act irrationally,
not considering the effects on those around them,
those who love them, every day. The inhabitants
of Crash act much the same, creating a filmic
world that, though possibly too real for some, is
bracing with so much escapism on the horizon.
Drew Wheeler
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CASTING & CREW CALL
Sunday, May 15th 12pm-6pm • Monday, May 16th 5pm-10pm
at UGA Drama/Fine Arts Building
BLAf^K STAGE PRODUCTIONS is casting for main roles & extras,
male/female ages 18-35 for new independent film feature film,
ART OF SUICIDE, to be shot <n Athens in July 2005.
Crew & assistant positions also needed.
For sides <& more info, visit: www.artofsuicide.com
or contact: artofsuiQide^gmail.com
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