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Officer Ryan then asks Cameron to step out, and although Cameron obeys, he acts confused.
It gives the sense that he’s saying his dialogue directly to the audience.
He is explaining the focus of the story which is that people are so wrapped up in their individual lives that they forget about others unless something drastic causes them...
“I think we miss that touch so much that we crash into each other just so we can feel something.” And so begins the most unjustly inflated and grandiose lecture on race relations since a puffed-up Spencer Tracy sermonized Sidney Poitier in the self-righteous and misguided , a movie I saw last year in the theater, but didn’t review.
It’s had so much awards hype since then and gained a huge audience on DVD, that I watched it again last week to make sure I still hated it. Don Cheadle is at a murder scene in the City of Angels, on Christmas, the holiest of all Christian days.
The cop thinks he sees the couple participating in a sexual act while driving.
When he approaches the car to ask for registration and license, Cameron and Christine laugh and find the whole situation humorous.One character in particular, Cameron, a prestigious color vision director, displays the friction between two cultures.He belongs to the educated, upper class of the Los Angeles area.No ugly stone is left unturned and rarely is a positive one touched. all engage in openly racist behavior, and every crucial decision is informed by racism or because of racist actions against that person.To make a grim situation truly insulting , their motivations are completely manufactured. This one single theme, bashed into your skull throughout, is what makes , Crash is a public scolding disguised as entertainment with ‘social value,’ where people don’t behave like actual people, but instead they exist only to prove Haggis’ point.That way the reader gets the point quickly and clearly, and your teacher can grade it easier.In Paul Haggis’ overwrought and overrated Best Picture nominee , Don Cheadle delivers an opening salvo so artificial and faux-poetic that it even contains the film’s title. It’s the sense of touch,” Cheadle’s self-important Los Angeles police detective says, sitting in a car with his partner/girlfriend, Ria (Jennifer Esposito).It is a constant source of conflict that everybody is stereotyped by everybody else, but the characters themselves are all stereotypes.There are better far modern vignette-based movies set in Los Angeles () that showcase complex characters with recognizably individual traits, and don’t behave like representations of people that are determined by whatever philosophy the screenwriter needs them to represent.When the police ask Cameron what he should do with what they did in the car he slowly says, “Look, we’re sorry and we’d appreciate it if you’d let us go with a warning, please.As early as junior high, you learn in English class to make your thesis statement obvious.