crash英文影片的剧情

合集下载

浅谈《CRASH》中的跨文化冲突

浅谈《CRASH》中的跨文化冲突

淺談《CRASH》中的跨文化衝突由聞名全球電影圈的編劇Paul Haggis'製作的《撞車/CRASH》在2006年獲得了第78屆奧斯卡最佳影片、最佳原創劇作和最佳剪輯獎。

《撞車》以美國洛杉磯這個人口眾多、人種繁雜的地區作為故事場景,探討了種族之間的問題,当中更凸顯了有色人種彼此間的衝突,並且夾雜著不同階層的人們之間的衝突,所以《撞車》探討的是錯綜複雜的衝突複合體。

導演認為這些衝突的根源就是美國的個人主義文化——individualism所造成的。

導演設計撞車成為故事的開端,同樣地亦以撞車作為故事的結尾,我認為他實際上想表達的是借由不同駕車人所攜帶的不同文化、思想等,相遇后所產生的碰撞。

●白人與有色人種之間的相撞槍店賣槍的白人老闆對買槍的波斯人的成見。

在經歷911事故後,很多白人看見中東裔的人,都會認為他們是恐怖分子,對他們惡言相向,出言侮辱。

就如檢察官的妻子Jane,在遭到兩個黑人小伙子搶了夫妻倆的車後,回家就把氣發洩到家裡的墨西哥裔傭人和無辜的換鎖匠身上,她對所有有色人種(尤其是黑人)一棒子全打死的態度,就充分體現出美國白人高高在上的那種心態,這一切都體現了白人對有色人種所持的偏見和歧視。

●有色人種針對白人的成見和歧視搶車小夥子安東尼,是個不折不扣的黑人,他固執地認為白人做的任何事情都是在排斥黑人,甚至認為在巴士安裝上黑色玻璃,是爲了減少黑人乘坐巴士的機會,也是對黑人的歧視。

在醫療福利中的黑人女負責人在聽完白人警察關於他父親的敘述後,不念那位老白人曾經雇傭她的23位黑人同胞做事和同工同酬的事實,冷酷地拒絕了他兒子的請求。

女黑人屬於政府官員,而那位白人老清潔工屬於下層社會的弱勢白人,他的兒子也只是普通警員,結果遭到了算作是政府官員的黑人女負責人的歧視。

所以女黑人的行為有了雙重的解釋,不僅是有色人種對白人的歧視,還是體面階層對下層人的蔑視。

有色人種彼此間的偏見影片開頭黑人警探與他的女同事瑪利亞(父親為波多黎各人,母親為薩爾瓦多人)開車撞到了一個亞裔——韓國女人,韓國女人向瑪麗亞咆哮“墨西哥人就是不知道怎樣開車,我要打電話給移民局告發你,看看你把我的車弄成什麼樣了”。

撞车(crash)影视鉴赏 ----主题文化赏析

撞车(crash)影视鉴赏 ----主题文化赏析

光影与现实的撞车-----主题与文化赏析从南北战争时期林肯宣布废除黑人奴隶制到黑人领袖马丁路德金讲述的我有一个梦想,再到最近的影片撞车,这一切从现实中碰撞到光影世界的撞车,都在讲述着同一个问题:种族歧视,人性的平等。

是光影世界里的撞车还是现实生活种族主义之争的碰撞?撞车主要讲述了:一个黑人电视导演和他的妻子,莫名其妙地因为莫须有的违章驾驶受到了白人警察的侮辱;看似该受到谴责的警察却在最危急关头挽救了那名曾遭他侮辱的黑人妇女;老实巴交的波斯商店店主,却差点谋杀了墨西哥裔修锁匠;地区检察官他的妻子被抢吉普车后只能把怨气发泄到无辜的修锁匠身上;黑人警察在承受着上司的威胁和焦急地寻找自己的弟弟。

一连串看是无关的琐事,却在36小时内给我们完整地在美国最繁华之一的文化艺术之都洛杉矶以出人意料的方式一幕幕上演,给我们以巨大的冲击。

影片深刻地向我们揭示了美国现行社会各阶层的不同人物之间的各种矛盾冲突,一个又一个角色在观众的吃惊目光的注视下,由正义到邪恶、由受虐者到施暴者的角色不停的转换。

影片打破了以往电影以时间顺序为线索的讲述方式,一开始便是一起撞车事件,然后回到一天以前将整个故事慢慢展开。

法官和他妻子的车子被黑人所劫,他妻子因此憎恨有色人种,歧视修锁匠和家里的女佣;白人警察因黑人医生不愿为其父亲换医生而将私人怨气发泄到黑人导演和其妻子上;黑人导演为了保存自己的面子而忍受自己的妻子遭人欺凌,却因此失去了尊严;波斯商人因门坏了而不是锁坏了而与修锁匠争吵,结果失窃后又拿着枪去找修锁匠报复;年轻警察因对黑人的偏见和白人的习惯,以为黑人青年要掏枪而抢先开枪打死了他······众多故事交错着展开,时间线索模糊,一开始只觉得影片零零散散的讲着发生在不同地点不同时间的不同人物上的故事,事件与事件只加毫无关联,也找不出一个主要的主人公。

但是随着情节的发展,故事脉络开始渐渐清晰,几个看似毫无关联的小故事凝结成一个完整的故事,同时也将影片所要表达的主题展现在观众面前——撞车。

影片《crash》引发种族歧视的思考

影片《crash》引发种族歧视的思考

《crash》——种族歧视后和谐的回归影片《crash》以洛杉矶这个多民族聚集、多文化汇聚的大城市为背景,讲述涉及白人、黑人、墨西哥人、波斯人、韩国人等多民族间的碰撞与冲突,是一场关于尊严、爱情、欺骗和救赎的吟唱。

在灰黑沉闷的色调笼罩下,该片的人物情绪在一幕幕车水马龙、灯红酒绿的都市剪影下,在人流摩肩接踵的碰撞中,构成一幅动态的情绪地图。

片中的人物涉及不同民族和阶层,他们身上有着不一样的故事,但是故事连接的主题都是殊途同归,都是表达民族间的冲撞,其中包含有种族歧视、人性善恶、还有表达命运的无常。

《crash》向我们展示种族歧视后人性的回归,展示峰回路转的剧情,让种族冲突在温情的感染下回归和谐。

《crash》开始以一起看似普通的撞车事件,引出片中主要人物在撞车发生前的几十个小时内所发生的故事。

通过设置事件内在的巧合,片中交错结合了6条故事线索,快速剪辑,把黑人、白人、亚裔、拉美裔不同种族、阶层之间人群的矛盾冲突做了一次集中的表现与描绘,同时展示了不同文化色彩。

片中剧情线索为愤怒—转移愤怒—愤怒平息,其剧情峰回路转,引向种族矛盾后的融合。

首先,片中讲述黑人小伙安东尼因为女招待服务有点怠慢而肝火上升;白人警察瑞安因为社区医疗中心的护士坚决不给他久治不愈的老父亲换医生而心生愤怒;波斯商人法哈德买枪时语言不通、被店主误认作阿拉伯人而满怀羞辱……而这些突然袭来的愤怒迅速被转移到新的承受者身上,并造成了更多的伤害与愤怒,安东尼冲过去抢劫了迎面走来的白人检察官夫妇的车,检察官的妻子珍妮对丈夫里克、女佣以及锁匠丹尼尔大发雷霆,只因为丹尼尔的纹身和黝黑的皮肤与安东尼一样;瑞安深夜拦截了黑人导演卡梅隆夫妇的车,以检查安全为由猥亵了导演的妻子,以宣泄自身对黑人的不满;波斯商人法哈德因为店门坏掉且遭打劫而迁怒于锁匠丹尼尔,并预备将之杀害……最后,矛盾慢慢缓和下来,被羞辱的黑人导演的妻子遭遇了一场车祸,而前来冒死将她救下的,却正是前夜羞辱她的白人警察,她尖锐而短暂的抵抗之后,被死的恐惧所屈服,接受了警察瑞安的救助,震惊中获救她凝视瑞安,涕泪交加;检察官的妻子珍妮从楼梯上摔了下来,伤痛之中惟有南美裔的女佣不计前嫌悉心照料,女人终于向保姆敞开双臂和怀抱;愤怒的波斯商人法哈德开枪向锁匠丹尼尔射击,不慎开枪击中前来保护爸爸的小女孩,那一枪响、在令人窒息的停顿和悲痛过后我们才发现,弹药早已被法哈德的女儿换成空弹,因为两个女儿的爱心,拯救了两个家庭。

36时的人生变奏——关于《crash》

36时的人生变奏——关于《crash》

36时的人生变奏——关于《crash》《crash》已经看了几遍,第一次看时没注意整个故事是发生在将近36小时里,后来才注意到。

第一次看没注意的东西太多了,影片前40分钟,各种人物不断出场,一个镜头中一擦而过的人忽然就变成叙述的线索。

他们相互之间有着细微的联系,如网一般。

这些白人、黑人、亚裔、中东人、墨西哥人共同生活在洛杉矶这个大都市。

导演不断将冲突展现在观众面前,尤其是种族的矛盾:白人对中东人的恐惧、白人市民对黑人匪徒的恐惧、黑人市民对白人警察的恐惧、有色人种之间的憎恨所有的一切交织在一起,一切千头万绪,容不得你有片刻犹豫。

1、关于故事“你知道,在很多城市里,你走在路上,你和别人擦肩而过,或者偶尔别人撞撞你。

可是在洛杉矶没有人会碰到你的身体。

我们总是躲在钢筋和玻璃的后面。

或许我们太怀念那种触感,以致需要通过剧烈碰撞才能体会那种感觉。

”电影开始,伴着缥缈不安的配乐,是一片泛着光晕的路边灯光,在夜色中的洛杉矶,快要下雪的寒冷圣诞夜,警探格雷厄姆坐在一辆尾部被撞的车中说出上面的一段话。

接着,两个黑人小混混刚从咖啡馆出来,其中一个一直在抱怨洛杉矶白人社会对黑人的歧视,另一个则不以为然。

不远处迎面走来年轻有为的洛杉矶地区法官,他正在竞选期间,这天晚上是出来陪妻子用晚餐的。

他们钻进自己宽敞的黑色吉普车,正准备发动,却被这两个黑人混混打劫了。

两个劫匪驾车去黑人聚居区销赃,路上无意间撞伤一个开白色卡车的亚洲人,他们把他扔在医院门口便匆匆离去。

法官夫妇回到家,妻子立即大发雷霆,发表了大段种族歧视言论,并自毫不在乎前来调查的黑人女警官的感受,连带肩膀上刺青的锁匠也一起挨了顿骂。

与此同时,洛杉矶警方正在全城搜捕驾驶抢来黑色吉普车的两个黑人,刚刚在电话里和一个黑人妇女吵了一架的瑞恩警官,带着年轻副手驾车追逐一辆可疑车辆。

慢慢靠近后,他已经发现这并不他们要找的那辆车,但他还是命令车上的两个人下车接受检查。

车上的一对中产阶级夫妇刚刚参加颁奖礼回来,男的是黑人,一个知名的电视编导,被迫停车的时候他的白人妻子正在为他口交。

英文 电影影评 Crash影评

英文 电影影评 Crash影评

Comments on CrashThe movie Crash shows us the interpersonal conflict and cultural crash by several stories interweaving in Los Angeles. The sociologists believe that crash is inevitable in our society, let alone a city with different kinds of people . Although American dream is always appreciated, there is no denying that racial discrimination in American country is so serious. With the misunderstanding between people, they fight for the interests and positions in the society. Crash in this movie has more than one meaning, it’s not just a collision involving cars. It also represents a contradiction between people from different culture background.Crash means contradiction and fighting. But in meanwhile, one of the sociologists suggests that crash may also have a positive impact. In the movie, the conflict does represent the human nature and sincere. You think you know who you are. You have no idea :A veteran police humiliates a woman but he saves her life bravely in the traffic accident. A woman who distrusts her colored steward finds the warmth and friendship finally etc. Some stories are end with hope and love but some not. Because in the diverse society, people are forced to change him inside even he doesn’t know at all.The most important feature of this movie is the method by several clues interweaving at the same time. They come together and make the story more true and vivid.As a dark comedy, this movie emphasizes the color and music, for example, the crash seems more fiercely with a low and deep music and dark pictures. On the contrary, the beautiful sunset and warm music are shown after the woman is rescued.In a word, this movie conveys many deep thoughts and deserves 3 Oscars so much.。

英语影评——撞车(crash)

英语影评——撞车(crash)

院系专业:化学化工与材料科学学院化学系年级:09 学号:200901010101 姓名:金晨Set in modern day Los Angeles, the Oscar-winning movie Crash attempts to unabashedly expose racial prejudice in this country through the depiction of numerous characters of different cultural backgrounds whose lives intertwine in multiple crisis situations. The large, impressive cast includes the following characters: two young, black male criminals, a Latino locksmith and his young daughter, an Iranian convenience store owner and his grown doctor-daughter, two white, male police officers, a black health insurance employee, a black detective and a Hispanic detective, a successful, black Hollywood director and his black wife, a middle-aged Korean couple, and a white district attorney and his white wife. Simply by reading this list it is clear to see that Crash takes on the problematic job of representing so many ethnic groups for a mere 1 hour and 47 minutes, which makes me wonder if the movie actually perpetuates stereotypes or if it challenges them. What Crash does successfully do is rouse viewers’ emotions, to the point that they feel the need to squirm uncomfortably in their seats. That in itself makes me give Crash an overall positive rating. Racial issues are complex and emotional, and bringing these issues to the forefront is (almost) always positive. While some parts of Crash seem far-fetched and are less realized, other plotlines, which left me breathless and near tears, are more successful and could probably stand alone as their own stories. Knowing that there is no possible way to acknowledge all the complexities of this movie, this review will attempt to address the most powerful, effective scenes and the messages they provide.The movie’s opening scene depicts the aftermath of a bad car accident, and this becomes a metaphor for the basic message flowing through the film. Crash suggests that we actually need each other: like car accidents, we “crash into each other just to touch each other,” states Don Cheadle’s character, a detective. But like the word “crash” suggests, the interfaces between the characters in Crash are far from loving, and infected with fear. In fact, the characters of the movie seem mostly isolated and unable to connect even with those who have the most in common with them. No one is guiltless; we are all victims and offenders of cultural bias. Yet we desire the contact of others. The movie suggests that we don’t know how to reach out to others in a healthy way.Not only do we fail to understand those around us, but another major theme of Crash is how much we lack individual self-awareness. Matt Dillon’s police officer character makes this bleak statement to a rookie cop: “Think you know who you are? You don’t have a clue.” His character is certainly one of the most intriguing in the film. He begins the story as one of the most despicable movie characters I have seen in a while; he abuses his power as a policeman and pulls over a married, black couple. He proceeds to grope the wife against the car, while seemingly taunting her husband. It is excruciating to watch, but it is this same awful man, who, later in a heart-wrenching scene, puts his own life in danger and rescues this same woman from a burning car. Perhaps it is a temporary change from bigot to savior, and he is likely surprised by what he is capable of doing for another human being. Still, for a moment of his life he is a hero. The only constant in the characters’ personalities in Crash is that they areinconsistent, and no character seems to know who he or she will be in times of tension and emotional distress. Perhaps one of the most interesting messages in the movie is the thought that in order to know ourselves, we must try to connect with those around us. We must see that we are basically the same. Otherwise, we remain lonely and ignorant as a society.The Iranian character in Crash also plays an important role in the film, one that raises many questions. Ultimately, at the end of the movie, he may be the easiest to dislike. He does evoke empathy as he faces discrimination by a gun store owner, who compares him to terrorists and calls him a “rag head,” even though he points out that he is Persian, not Arab. His frustration over not being able to adequately communicate in English also exposes the difficulties of his life in America. Of all the characters in Crash, it is most obvious that he immigrated to America and cannot successfully acculturate, and he appears completely emasculated. He reacts to tense situations (i.e. his convenience store is robbed) with so much palpable agitation and fear that a viewer can easily predict he will do something erratic and terrible. Indeed he does, by taking an “eye-for-an-eye” approach to punish t he kind and misunderstood Mexican American locksmith who he blames unfairly for the store’s robbery.The Iranian character goes so far as to dig up the locksmith’s information out of the trash, go to his house, and attempt to shoot him in his front yard, which requires forethought and planning. In the midst of this would-be murder scene, the viewer is led to believe that the locksmith’s innocent daughter will take the bullet instead. Fortunately this does not happen, as, unbeknownst to the Persian man, the gun is loaded with blanks. This is thanks to his grown daughter, who predicted that he had the capability of doing something dreadful with the gun.Out of all the irrational behavior depicted in Crash, the damage this character creates seems the worst. Although he calls the locksmith’s little girl an “angel” who saved him from doing something terrible, there appears to be few repercussions or lessons learned from his behavior. In my view, nothing spiritual occurred to keep him from killing the locksmith or the locksmith’s little girl; instead, the Iranian man’s daughter had had the wherewithal to fill the gun with blanks. It seems like he takes no personal responsibility for his actions, and is still overwhelmed with uncertainty. In the post 9-11 world, all of this is certainly intriguing to me. Is it possible that there is a more blatant bias from the creators of Crash when it comes to portraying someone of Middle Eastern heritage? I suppose one might argue that the Persian man’s grown, rational doctor-daughter is a character that allows for some balance in the portrayal of those of Middle Eastern descent; additionally, she also illustrates the potential divergence from one older generation to the next, but unfortunately her appealing character is not emphasized in the movie.Like the Persian man, Sandra Bullock’s character in Crash also turns her fear and feelings of powerlessness into anger – emotions that are so closely linked – and she finds herself utterly isolated. Her character is the wealthy wife of a district attorney, and she seems to have everything she could want. However, she acknowledges that every morning she wakes up full of rage, and does not know why. Early in the movie she is walking with her husband to their car at night and she sees two young black men and feels nervous. Her anxiety turns out to bewell-founded as the black men put a gun to her head and car jack the couple’s SUV. The scene turns the idiom that “you can’t judge a book by its cover” upside down, because the two men fit a negative stereotype, thus reinforcing the prejudices of Bullock’s character. (Interestingly, she most likely fits the two black thieves’ negative stereotype of who she is.) In the end, Bullock’s character comes to the realization that her “best friend” is actually her Hispanic maid. She has been rude to this maid, and realistically is paying the maid to take care of her, so clearly this is not a true, balanced friendship. Yet the only one to comfort Bullock’s character when she is bedridden with a broken a nkle is this unlikely maid. Bullock’s humbled character grasps the confused maid in an embrace, forcing herself to push aside her superior attitude. We need each other, Crash suggests once again.But is there hope for us as a society? No one is innocent of cultural prejudice. This a belief reiterated numerous times throughout Crash, sometimes dramatically and sometimes humorously, and almost always laced with irony. The question is: how do we work through our biases and simply get along? If the travel saint in Crash is a metaphor for the journey in life that we all take toward self-understanding, then some of us are certainly at different places along this path, but with effort are moving forward. Sadly, some of us may remain stuck, figuratively ramming our heads against walls as we are forced to interact with others who are different than we are.I believe that Crash may offer a bleak view of racial relations in our country; however, some of the last scenes show snow falling in Los Angeles, which is certainly an unusual sight. Perhaps this is intended to show some sort of cleansing, or hope, yet there is also the image of fire as a car is engulfed in flames. In our society something will always continue to burn. The illegal Thai immigrants dropped off in the middle of Chinatown at the end of Crash represent how the cycle will start once again; they will have the challenging job of acculturating into our society and others will take out their fear and anger on them. Yet this country has so many valuable things to offer to each one of us, even when it is so difficult to look beyond our differences.Crash successfully forces viewers to address their own cultural backgrounds and their experiences with those of other races. Doing this is imperative if we are to reach a peaceful existence with each other in our melting pot of a country, yet it is too easy to succumb to fear and avoid analyzing how we subsist within our world and how we relate to others. After all, when it comes to racial equality, ignorance is not bliss; it hurts all of us. Especially within a city like Los Angeles, we never know when the truth will crash into us and we will be forced to face who we are through the eyes of others, at least superficially, no matter how difficult it is to take a raw look inside and outside of ourselves.。

crash 英文 观后感

crash 英文 观后感

crash 英文观后感《Crash》是2004年上映的一部美国电影,由保罗·哈吉斯执导。

这部电影以洛杉矶为背景,通过聚焦不同族裔之间的碰撞与融合,深入触及了社会问题和个人命运的交织。

观看《Crash》给我留下了深刻的印象,让我反思了人与人之间的关系、偏见与歧视的存在以及影响人们行为的复杂因素。

影片首先在题材选择上非常大胆,在大部分电影还停留在传统的喜剧、动作等类型时,《Crash》选择了一个社会问题既明显又隐蔽的主题 - 种族关系。

这让影片从开头即展现出其冲击力与真实感,让我有了对这部电影的浓厚兴趣。

影片通过多个平行的故事线来展示不同群体之间的冲突。

警察、非法移民、黑人、白人、亚裔等种族和社会背景的人物在剧中纷纷交织,他们的生活和命运在不经意间相互碰撞。

每个角色都有自己的故事和情绪,而这些故事之间又以意外的方式交织在一起。

看似普通的一次交通事故引发了整个故事的连锁反应,让我感叹生活的精妙和复杂。

影片中角色性格鲜明,人物关系曲折,他们的情感与行为互相影响。

影片不仅揭示了人们内心深处蕴藏的偏见和歧视,还展示了他们的善良和真实。

在这混乱复杂的电影世界中,人物之间的关系让我产生了共鸣和思考。

比如警察约翰·瑞恩和他妻子珍妮,他们的互相误解和偏见是典型的种族问题的表现。

但在电影的某个时刻,珍妮被抢劫,警察约翰·瑞恩却是第一个赶到的人,他们之间的感情发生了微妙的转变。

这种戏剧性的转折让我觉得人与人之间的关系并不是一成不变的,而是随着经历和环境的改变而变化的。

除了种族问题,影片还深入探讨了社会问题和个人命运的交织。

在这个复杂的城市中,每个人背后都隐藏着各种不为人知的故事。

角色们的命运在电影中被交织在一起,有些巧合,有些必然。

例如路易斯和他的妻子克里琳塔,在他们经历了一次车祸后,他们的观念发生了一些重大的改变。

这些事件和转变让我意识到命运并非完全掌握在自己手中,而是受到外界因素的影响。

crash英文影评

crash英文影评

一:Crash" is an ensemble film with several intersecting stories, all of them about people who can't quite seem to understand how things turned out the way they did or how they themselves turned out the way they did. Most of them find out, in the course of the movie, that they are capable of more -- or less -- than they thought they were.Paul Haggis, the screenwriter for Million Dollar Baby has co-written and directed a devastating movie about people who are very much like us, with one important difference. It's as though the drinking water in Los Angeles has been spiked with some mild de-inhibitor that makes people say what they are thinking. In this film, everyone says the most horrifyingly virulent things to everyone else: family members, people in business, employees, and strangers, reflecting a range of prejudice on the basis of class, gender, and, above all, race.These comments are sometimes made angrily, sometimes carelessly or thoughtlessly, but often, and more unsettlingly, matter-of-factly. As vicious as the insults are, the part that hurts the most is that people don't care enough, don't pay attention closely enough, to know the people they are insulting. "When did Persians become Arab?" asks an Iranian, who cannot understand how people can hate him without taking the time to know who he is. A Hispanic woman explains to a man she is sleeping with that she is not Mexican. Her parents are from El Salvador and Puerto Rico. He tells her that it doesn't matter because they all leave cars on their lawns anyway.The movie is intricately constructed, going back and forth between the characters and back and forth in time. We get a glimpses of moments that create a mosaic in which we see the pattern before the characters do. The movie has big shocks but it also has small glimpses and moments of great subtlety. A black woman looks at her white boss while he talks to his wife on a cell phone and we can tell there is more to their relationship than we have seen. The daughter of immigrants we have only seen in one context shows up in another and we see that her professional life is very different from what we might have imagined, reminding us that racism may be inextricably intertwined with America, but so is opportunity.Like Altman's classic Short Cuts, and Anderson's Magnolia, Crash, by writer/director Paul Haggis weaves a tale of multiple characters through the web of streets we have come to know as Los Angeles. Unlike those other two films this one has a very specific theme to explore. From the opening line uttered by Don Cheadle we know this is to be a film about how people relate, and from the interchange that follows between Jennifer Esposito and Alexis Rhee (pretty sure she plays the Korean female driver who rear-ended her) how people relate tends to be ruled by first impressions or prejudice.Race is paramount in this film, and all our preconceptions of who people are get twisted and turned through the intricate plot. With each new additional character we find another assumption, another stereotype, and then watch as that preconception is obliterated as the character develops. It is a credit to the deftly written script, tight direction and exceptional acting talent that every one of these many characters is fully realized on screen without ever feeling one-dimensional.I would love to discuss some of the details of what happens to explain how well it is done, but part of the magic of this film is allowing yourself to be taken on this ride. Mind you, this isn't a ride of pleasure. The first half of this film is unrelentingly in its ferociousness. I could literally feel my rage at some of the characters forming to a fever pitch. The fear and hatred I was confronting wasn't just on the screen, but in the pit of my stomach. And in one absolutely brilliant moment I was literally sobbing at the expectation of horror unfolding, only to be cathartically released in a most unexpected way.Mr. Haggis was in attendance at the screening I saw and explained that the idea for this film came to him one night sometime after 9/11 at about 2a.m. when his own memories of a car- jacking experience from 10 years before wouldn't leave him alone. Clearly this film was his way of relieving those demons of memory, using the catharsis of his art to unleash them and in doing so has given to all viewers of cinema an opportunity to examine our own preconceptions about race relations and how we treat each other and think of ourselves. He mentioned in the discussion after-wards that he likes to make films that force people to confront difficult issues. Films that ask people to think after the film has ended and not just leave saying: "that was a nice film".This isn't a "nice" film, and I would expect that it will provoke many a discussion in the ensuing weeks when it opens nation-wide. It's a discussion long overdue for this country, and it took a Canadian to bring the issue to the fore in this brilliant, thought provoking film.三:Ensemble features can be daunting, yet some filmmakers embrace the challenge, and their results reward an audience. A lot of characters are woven into the tapestry of Crash, the feature directing debut of TV veteran Paul Haggis. (Haggis was also Oscar nominated for writing the screenplay of Million Dollar Baby.) The story unfolds in Los Angeles, where hostility is often a barrier to intimacy, and hatred and fear cloud judgment. Don Cheadle plays Graham Waters, a police detective investigating what may be a racially-motivated killing. Graham is having an affair with his Latina partner (Jennifer Esposito), whom he variously refers to as "a white woman" and "Mexican," neither of which is accurate. Matt Dillon is LAPD officer Jack Ryan, a 17 year veteran of the force whose actions often cross the line. When he fondles a woman (Thandie Newton) during a routine traffic stop, his partner (Ryan Phillippe) wants to sever their professional relationship. Meanwhile, the D.A., Rick Cameron (Brendan Fraser), and his wife, Jean (Sandra Bullock), become crime victims when their car is stolen by a pair of thieves (Chris "Ludicris" Bridges and Larenz Tate).The best ensemble films are the ones in which the characters are given an opportunity to breathe (Magnolia, Short Cuts, and Nashville come to mind). With Crash, 105 minutes is barely enough time to let the numerous participants begin to inhale. The movie runs for long enough to allow Haggis to present the story, but we're left wanting a little more - a few extra scenes and an added conversation or two (especially between Newton's character and her husband, played by Terrence Dashon Howard). But I suppose it's always best to leave an audience hungry, rather than feeling overstuffed.Crash's strength is that it deals intelligently with serious subjects. Racism is a hot-button issue,yet Haggis manages to approach it in a universal, reasonable manner. We don't feel like we're being preached to, nor does this seem like a sanctimonious "message movie." The film's numerous stories are tied together by a web of coincidence. Af first, there's a sense that so much contrivance invites criticism. However, on a second viewing, I was aware of the balance and symmetry in the way the characters' tales connect, sometimes only tangentially. Haggis has created a microcosmos, so it's only right for plot-lines to criss-cross.The director has assembled a large, accomplished cast that includes Matt Dillon, Don Cheadle, Sandra Bullock, Thandie Newton, and Ryan Phillippe. Amongst other things, this group virtually assures that the film will be seen. All are more than competent in their roles - with Cheadle, Dillon, and Newton being especially memorable - and each does his or her best to enhance the two-dimensionality of the characters as they are presented in the screenplay. The most powerful scene in Crash has Dillon and Newton confronting mistrust on the cusp of mortality.The principle subject matter is racism and its manifestations, and how it is often as much the result of social conditioning and anger as of hatred and intolerance. In addition to the usual white-on-black manifestation of discrimination, we are confronted with black-on-Latino, Latino-on-Asian, white-on-Middle Eastern, and other permutations. Wherever cultural differences exist, there is room for tension. However, by depicting bigoted characters as otherwise caring individuals, Crash asks us to consider the causes of racism as much as to examine its effects. In doing this, Crash sets itself apart, at least to a degree, from other, similar motion pictures. Although an expanded running time would have afforded us the opportunity to get to know the characters better, Crash is long enough to permit the film's themes to strike a responsive chord.四:Screenwriter Paul Haggis made such an impression with his treatment of F.X. Toole?s source material for director Clint Eastwood?s ?Million Dollar Baby?, the best film of 2004, that I was eager to see what he was cooking up next. Thankfully, he strikes gold again with his directorial debut Crash, which is not to be confused with the 1996 David Cronenberg movie of the same name. Where that film was about people who were turned on by car crashes, here Haggis takes a turn into the realm of human collision in the decaying world of Los Angeles through many connecting and disconnecting characters. It is a location where Robert Altman (Short Cuts) and Paul Thomas Anderson (Magnolia) once told their own stories about healing and redemption. We first happen upon an accident outside of the city, where a detective (Don Cheadle) and his partner (Jennifer Esposito) arrive on the action. The film then goes back about 48 hours to introduce us to several connecting characters, all of which have different racial backgrounds. We first happen upon a wealthy white couple (Brendan Fraser playing a district attorney and Sandra Bullock playing his wife) whose car is stolen by some merciless car thieves (Chris ?Ludacris? Bridges and Larenz Tate). This leads to Bullock?s character suffering a breakdown and fearing everything around her.We also meet a Persian man who is insistent to purchase a gun to protect his store, ignorant of the fact that a Mexican locksmith (Michael Pena) is telling him to replace his door. (?I replaced the lock, and it works, but your door does not.?) The locksmith, who looks like someone recently sprung from jail and was also suspected by Bullock?s character earlier on when her house locks were changed, is a loving family man who has moved on with his daughter after a violentshooting.Down the road, we also meet a black film director (Terence Howard) whose wife (Thandie Newton) is harassed and fondled by a seemingly dirty cop (Matt Dillon) while his nicer partner (Ryan Philippe) looks on. The director husband is enraged by this violence but refuses to do anything much to the anger of his wife, and Phillipe?s cop finally decides that he wants to get a new partner, or possibly a solo car job.I have only brushed the surface of the characters and their set-up, and it is up to each individual viewer to connect to the story and discover how all of these people bounce off one another and lead back to that opening in the city outskirts. The thrill of watching Crash is not just the telling aspects of racism in our society, and it is there, but also to instinctive fear and how that can drive us to silent anger and insecurity. The film somewhat reminded me of Lawrence Kasdan?s great 1991 film Grand Canyon where several characters were at their wits end by a changing society, and here Mr. Haggis tells a story of select kinds of people who are battling to find themselves in a world that is tearing them apart.Funny, isn?t it, how you can live in a town or large city and yet somehow you can feel disconnected with those around you. With that said, everyone has a story and everyone is connected, and the pleasure of a film like Crash, a wonderful story, beautifully performed and written, is that there is hope in this world, and there can be a future where all is redeemed and all is right. We crash into each other for a reason.五:OK, so the cleansing shower at the end of "Crash" features snow instead of frogs, but there are still too many similarities between this film and "Magnolia" for comfort.Like "Magnolia," this ensemble drama features multiple intersecting story lines that seek to expose the lack of intimacy and warmth between residents of Los Angeles. There's even a showy supporting turn by a big-name star (in this case, Sandra Bullock instead of Tom Cruise).On the plus side, "Crash" is a much shorter film —by nearly an hour. But it doesn't have nearly the lingering emotional punch of "Magnolia." Although this one does score some points for confronting racial prejudice head-on (including within the LAPD). It's just unfortunate that it's been packaged in such already familiar material.Among the Angelenos examined in "Crash" is Graham (Don Cheadle, who also produced), a police detective dealing with a drug-addled mother who wants him to make things right with his younger brother. Then there's Hanson (Ryan Phillippe), a young LAPD officer who sees the ugly side of his patrol partner (Matt Dillon) when they pull over a black filmmaker (Terrence Howard) and his wife (Thandie Newton).Meanwhile, a pair of would-be carjackers (Chris "Ludacris" Bridges and Larenz Tate) make the mistake of stealing the vehicle of the local D.A. (Brendan Fraser) and his high-strung wife (Bullock). And in the film's least successful story, there is a confrontation between an Arab-American convenience-store owner (Shaun Toub) and a Hispanic locksmith (Michael Pena), which adds an unnecessary feel-good element to a movie that doesn't really need one.Co-screenwriter Paul Haggis does fill out his directorial debut with some strong performances, though. Cheadle is as intense as usual, while both Dillon and Howard add some needed shadingsto their respective characters.Unfortunately, Bullock's much-ballyhooed performance verges on cartoonish, and worse, she's paired with Fraser, who couldn't be more inanimate if he was cast as a brick wall.。

  1. 1、下载文档前请自行甄别文档内容的完整性,平台不提供额外的编辑、内容补充、找答案等附加服务。
  2. 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
  3. 3、如文档侵犯您的权益,请联系客服反馈,我们会尽快为您处理(人工客服工作时间:9:00-18:30)。

影片的剧情错综复杂,诸多主人公看似毫无关联却环环相扣,互相影响,其中的亲情、友情、爱情、父子情等,都在一个怪圈里轮回着。

片中的黑人执着地认为白人做的任何事情都是在排斥自己,于是为了捍卫自身的权益,他义无反顾地对社会进行着报复。

同样,另一个黑人身为著名的电台导演,却不敢向世人告白自己的黑人身份,操着一口白人口音夹着尾巴苟且活着,即便自己的妻子被白人警官猥亵,也丝毫不敢反抗。

猥亵黑人导演妻子的警官也并非简单的坏人,他深爱着自己患病的父亲,而当他奋不顾身去抢救即将爆炸的客车里的女人时,他是那么地伟大,而当客车里的女人认出他便是猥亵过自己的警官时,时间静止的一刹那,人与人居然可以和平共处,令人感伤。

片中还有许多类似的情节,警官的新搭档看不惯他对待黑人的流氓作风,冒着上司的压力换了拍档,却错手枪杀了他那个憎恶白人的黑人朋友。

片中同是受害者又为了报复别人而变得丧心病狂的波斯人,被撞了的中国人……一个个触目惊心的场面,每个人都是在给别人非公正待遇的同时受着别人的不公正待遇,这是一个怪圈,一个轮回,没有人可以逃脱得出去。

《撞车》(Crash)剧情介绍
在洛杉矶这座种族杂居、交通繁忙的国际大都市,每天都有无数的撞车事件上演。

冷冰冰的驾驶盘背后,坐着的是一个个鲜活的人。

很多重要情节都是在车上发生的,或是关于车的。

影片集中在讲两天内发生的几起交通事故,一个个单一事件关系的背后,却是千丝万缕的联系。

最后仍然是一个撞车事件,马上两个车主从车里走出来(被撞的是线索F中的黑人女子Shaniqua)开始吵架,最后一个长镜头渐渐拉远,车来车往尽收眼底,最后可以俯瞰着这座繁忙的城市……
电影的主题是种族主义。

首尾就像一个圈,开始就是结尾、结尾就是开始。

很多条线索被看似并列地上演,最后发现它们之间都是有关系的,有条不紊地交织在一起。

下面我就来尝试着清理一下它的若干条线索。

【线索A】一对同居的爱侣:
黑人警探Graham和他的白人女友警探Ria。

他们是同事,又相互爱慕。

Graham是个非洲裔美国人,他还有个弟弟,二人在恶劣的环境中长大。

他们的妈妈身体不好,在一次家庭口角中弟弟离家出走。

此后妈妈很后悔,要求他把弟弟找回来。

至于Ria,长相让她常被莫名其妙地误认为是墨西哥人,每当此时她总是火冒三丈。

故事就是从二人驾驶的车被撞开始的。

【线索B】一对抱有种族主义的白人夫妇:
男的叫是该地的高级检察官Peter,正忙于拉选票;而女的叫Jean,她爱吃醋,又总是生气,挑三拣四,家里的仆人一年换了五六个,新来的墨西哥女仆Maria总是遭到莫名指责。

车被黑人抢走后,一回到家她就把满腔怒火发泄在正在修锁的墨西哥人Daniel身上。

最后,Jean终于意识到使自己心烦的并不是车被两个黑人抢走一事,问题出在自己身上。

从其他种族的人身上她终于懂得了什么是爱。

【线索C】一对搭档:
是两个以偷车卖车为生计的黑人青年,而其中一个带点儿迷信,总是随身带着那个小圣像。

他是线索A中黑人警官Graham的弟弟,跟母亲吵架后离家出走。

(抱歉,看了两遍我都没听出他叫什么名字~)他相信那个小圣像能够带来平安,没想到最后带来的是灾难。

另一个是愤世嫉俗的Anthony,他充满了身为黑人强烈的自卑,在他看来每一个眼神都充满了对黑人的不屑。

两个人做了很多坏事,再抢一辆车的话就足够判个终身监禁了。

在一次抢车事件中,Anthony抢了黑人导演Cameron的车,Cameron由于妻子的被辱将一肚子的火气爆发出来,两人开始争执,引来警察。

Cameron几乎是不顾性命的跟警察争吵,试图夺回尊严。

关键时刻,那个充满正义感的白人年轻警察救了他。

而他则感化了抢车贼Anthony。

【线索D】一对恩爱的非洲裔美国籍夫妇:
男的叫Cameron,他在美国出生、长大,绅士风度翩翩,是一个在事业上颇有成就的黑人导演;他的白人妻子名叫Christine。

一天晚上他们娱乐完开着林肯车回家的路上,被正在执勤的Ryan逮住。

Ryan本来是受命要追捕另外两个盗车的黑人(线索C中那两位),将错就错地把白天受的气发泄在这对黑人夫妇身上,当场羞辱了Christine。

目睹妻子被辱,Cameron却委曲求全。

二人回家后吵架,妻子无法理解他在那种情况下怎么能够做缩头乌龟。

第二天Christine试图和解,但是她的话已经深深伤害了丈夫的心。

她不知道,作为一个黑人,Cameron混到今天这个地步是多么谨小慎微、多么的不容易。

事后悲伤的妻子开车回家,途中在一起严重的交通事故中差点丧命,舍命去营救她的,却是Ryne——当初侮辱她的那个男警。

该片海报用的就是她被男警从死亡线上拉回来之后、二人相拥而泣的图片。

【线索E】一个年轻警官:
刚刚走进警线的白人年轻小伙子Hansen。

他充满了正义感,觉得不应该对黑人采取歧视的做法;正是出于这点,他看不惯Ryan侮辱黑人Cameron,并在一次偶尔的机会中保护了Cameron不受伤害。

然而,他又确实相信白人缔造的这个制度的合理性,所以在跟Cameron的对峙中他说道,以你现在的所作所为,他们开枪完全是合理的。

所以说,Hansen其实是个多种价值观的综合体。

一天晚上,正是由于这种负面价值观,他开枪误杀了一个搭便车的黑人。

原因是那个黑人看到了车鼻子上很像小圣像的那个标志,感到很投缘,所以忍不住总是笑。

而Hansen认为他是在嘲笑自己。

这个黑人为了解释就去口袋掏小圣像,被误解为掏武器,于是Hansen先发制人地开了枪。

而那个黑人,正是Graham警探寻找已久的亲弟弟。

【线索F】一个老资格白人警官:
名叫Ryan,在警局已经服役了十七年。

他是个种族主义者,但又是个很孝顺的儿子。

他跟父亲住在一起。

父亲重病在身需要开刀,暂时在一个诊所,被主治医生Robinson误诊为尿道感染。

他希望能够在有医疗保险保障的情况下把父亲转到更好的医生那里去医治,但是诊所的头儿——黑人女子Shaniqua Johnson却不肯签署。

出来之后他把满腔愤怒发泄在了线索D中的那对夫妇上,像一个流氓一样羞辱他们,当着Christine的丈夫,以搜身为名义揩她的油。


而在后面偶尔发生的一起撞车事故中,他又在不知情的情况下,出于警察的职业本能又冒着生命危险、奋不顾身地救了Christine。

【线索G】墨西哥裔男子Daniel,是个修锁工人,他有一个幸福的三口之家,有个可爱的女儿Lara。

这家人原来住在一个治安混乱的街区,有一天一颗子弹破窗而入,Lara非常害怕,因此一家人搬到了另外一个较为安宁的街区。

本来想获得宁静的生活,突然一天晚上女儿听到枪声害怕地躲到了床下。

为了安慰她,Daniel假装给她一件枪弹不入的护身小披肩。

小女儿刚刚入睡,这个晚上Daniel又去给波斯店铺修锁。

修锁他发现,不仅锁不结实,门也坏了,于是建议店主换一张门。

波斯店主认为他是骗钱,结果气得他连薪水都不要了,愤愤离去。

第二天该店被抢,店主一生的辛劳都付诸东流。

【线索H】一个波斯裔美国家庭:
店主Farhad为了在这个混乱的城市中保护自己,他和女儿Dorri一起去买了支枪。

他们一家经常被误认为是阿拉伯人,当时911刚刚过去不久,美国白人仇恨阿拉伯人。

在买枪的店铺里就因此发生了争执,Dorri把父亲支出去,自己跟店主交涉,要了一个装子弹的红色盒子就走。

Dorri不知道,她这个小小的失误两天后拯救了爸爸。

她老爸Farhad充满了强烈的自卑感,很难信任他人。

有一次锁坏了,Farhad叫来Daniel修锁。

Daniel提出锁和门都应该彻底换新的之后,Farhad认为他是骗子,并当场羞辱了他。

这个修锁工人愤怒地离去,第二天店铺被抢。

店主认为是修锁工蓄谋所为,持枪报复。

在愤怒之下,他开枪了,说来迟那时快,戴着所谓“护身披肩”的Daniel的女儿Lara扑到爸爸身上,想保护爸爸。

那一幕真是相当感人。

(所幸,那是空炮弹,否则这个可爱的小天使就死翘翘了。


【线索I】一对韩国夫妇:
丈夫Tongchigong贩卖人口,刚刚完成一批成功的生意,拿了支票,正准备趁晚上开车把车后棚里关押的N多亚洲人送去交货。

正当Tongchigong要打开车门,突然那对正在打闹驾驶的黑人的车开过,他被撞倒,卷到了车底,拖了几十米就剩下一口气。

Athony想逃跑,他的搭档不肯,然后把这个韩国人从车
底拉出来甩在路边。

后来此人被发现,送往医院。

焦急的妻子Kim Lee四处打听他在哪家医院,一路碰到谁都破口大骂。

(竟然不少美国人认为Kim Lee很漂亮,ho...)结果路上又撞上了其他车——线索A中女警探Ria开的车;两个人吵起来之际,黑人男警探Graham下车,发现旁边正有警察在处理另外一桩事故,他以职业的冷静态度若无其事地走过去看,却惊诧地发现死者是自己寻找已久的弟弟。

相关文档
最新文档