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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.
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.
When he and his wife, Christine, get pulled over by a racist cop, he experiences emotions of powerlessness and helplessness that he never knew he would experience due to his upbringing and place in society.
Cameron goes through a radical transformation where he comes to grips with his background and how he fits into these two clashing cultures.
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.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).The film follows the events of the character’s lives over a period of two days and it shows how their stories are all connected.The cinematography that is used throughout also works to convey the director’s message.In this scene, Cameron does not protest but unbelievingly stares at what is happening to his wife.He is in a vulnerable situation because if he objects, he and his wife could be arrested and his reputation ruined.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.For example, the movie opens with a voice over by Detective Waters where he is talking about people missing touch in LA because no one touches each other.This scene starts by being shot out of focus but then gradually the camera focuses on Water’s face turned towards the camera as he faces the window.