Crash

David Cronenberg, Canada 1996, 102 minutes

The story of Crash begins as John Ballard (James Spader) crashes his car into that of Helen Remington (Holly Hunter) killing her husband and wounding his own wife. While recovering in hospital he meets Vaughan (Elias Koteas) who introduces him to his small band of followers who take delight in watching and recreating car crashes. The story follows these people as they become more and more drawn into Vaughan's world of man and machine, ultimately finding out whether they have what it takes to survive in a world where death is often a goal.

Initially a very borderline project Crash was soon recommended by the star calibre it attracted. Spader as Ballard portrays the perfect man of confusion, never entirely sure what he is doing but only ever drawn there by his feelings. Throughout the film Spader acts on impulse rather than rationalality and, as Cronenberg equates Spader with the original author (J G Ballard) and also makes him a film director, we can only assume Cronenberg is trying to highlight the universality of his message. Elias Koteas plays the perfect Vaughan; always on edge, always slightly off balance but forever composed in the face of anything and everything. Holly Hunter is, as ever, superb, demonstrating her ability to handle any project. Unfortunately Rosanna Arquette seems somewhat overwhelmed by the role and script.

The scenes and settings of Crash are stunning; industrial landscapes, metallic and concrete countrysides everywhere echoing Vaughan's predictions. The music, while initially seeming strangely out of place, soon becomes essential to the film, adding another dimension to the characters' thoughts and actions. The script however is the real gem. Taken from the novel by J G Ballard with all blessings attached, it is a monstrous concept that possibly only Cronenberg could have handled so well. The power in the words seems so often missed by the actors, who often seem incapable of coping with the concepts that the director is handing them. Nevertheless, the film glues together immaculately well and the result is one of the most enjoyable and provoking films around. Besides which, the Daily Mail wanted to ban it. So hey, can't pass up an opportunity of seeing a film with that status.

Review by Andrew Hesketh
Taken from EUFS Programme 1997-98