Crash (1996/1)

Every single review I’ve read of this movie I’ve quite frankly found revolting. At least when someone exhibits the courage to display the stark truth those feeling some degree of compulsion to professionally express opinion should do so somewhat in kind. Society may have taught us broadly the cowardly way we have acquired to avoid certain truths about ourselves for the benefit of more comforting “accident” statistics, but for the sake of clarity (that doesn’t quite fit that clap trap) we might at least show a little respect.

On the eve of another general election to determine a new presidential administration no better time can be found to come to such terms. Having seen the former administration wreak havoc upon our nation in every way it could find, how is it we don’t consider the most obvious suggestions implied? In the very same way, head on collision, while on our way to work or home? In the very same way construction and implementation of a super collider (over resounding protests of some of the best sub-atomic physicists in the world) whose result can lead to ANY degree of uncertainty, even  sub-atomic matter cascade?!!

When James Ballard (James Spader) inquires of Vaughn (Elias Koteas) about any connection for his choice of “home” and car, a 1963 Lincoln Continental convertible, relating to the JFK assassination,  the response is the significant, “perhaps that was an accident too”…spoken in the same vein as the flippant remark (Vaughn later corrects) about “reshaping of the human body by modern technology”. In the world/consciousness of these adherents there are no accidents. For it is, in contrast to the vapid world of the self-deceived, the ultimate aphrodisiac to not just take full responsibility for one’s own catastrophe but for that of others, especially those of the celebrated like James Dean and Jane Mansfield.

When the survival instinct kicks in, it becomes reshaped, refitted for other use. We call this such things as, compensation, sublimation, even facilitation…in the criminal sense. For our social order fits us to death traps and gives us false illusion they’re not. These adherents simply cut out the deception and speed things up a bit…suggesting that it is ultimately self-deception rendering impotency and the loss of free will to it. And in the resultant haze hanging over us all comes the beauty clarity alone affords, what makes Vaughn more than maniac, more than just another life lain on a platter for someone else’s feeding.

We live in a society governed by a system gone rotten. Denying this leads to costing us everything. Deep within we know this yet we strike out denials and foster our own impotency to deal with even our own passions, even those that bring us pleasure. In our face these adherents uphold something up to standards we’ve lost, redefining courage and its loss to illusion, bearing on the inevitable question, what price life if escaping death becomes the only value?

We cannot endure blindly any longer. Had this movie been made recently perhaps its message of this might have been made. Blind, we turn inward upon ourselves, what these adherents have found to protest. With clarity and courage we can pull down the corrupt and find ways to return and keep the moral directions we prize, perhaps no longer observing any need for such costly titillations.

No longer falling our sometimes best and brightest to fatal death cults always historically repeated when the “traffic” of our times is more human debris than inspiring.

Obviously not a movie for children, and why none are in it.

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