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Most certainly. I didn't like the movie. I give it a 2/10. Thandy Newton and Matt Dylon did a great job.
No Asian person I know calls Caucasian women "fat cows". That's the last thing I'd think about.
Sounds like the writer of the movie was projecting his/her true feelings about race/gender in his/her own failed attempts to illuminate issues of prejudice and social injustices into contemporary Hollywood films.
I took it as smug attempt to appear "open" to discussing racial issues. The lack of dialogue and apparent bias was enough for me to laugh at the fact how mass appeal can totally win over and gloss over obvious contradictions to the entire film.
Right.And notice how they spoke broken English,the woman said "blakes" instead of brakes. So they don´t even speak good English but they have managed to start an international slave trading business? Kinda weird. And how moronic the slaves were? They get freed and the first thing the guy does is sit on the sidewalk and starts watching the TV screens of the shop like if he was in a trance. It was a "savage meets civilization" moment.
I think, too, if you're worried about anti-Asian discrimination, using the word "Chinaman" isn't your best choice.
It's a great movie, I loved it, but I could not avoid noticing the way that guy from China, ie, the "Chinaman" was portrayed.
I just wanted to see if that detail was noticed by somebody else.
I remember they compared Crash with Shortcuts and there was some sort of controversy (well,just gossip) about its New Age Spiritual message.
For example, the child saved her father using a magical cape, (and the fact that the Persian shot blankets), so some critics said the Scientology could be behind.
Crash is a mediocre film that does a downright awful job of imparting any meaningful lessons due to the base simplicity and Hollywood gloss it required to be a commercial success and recoup its large budget.
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Quote:
Originally Posted by Javier77
Right.And notice how they spoke broken English,the woman said "blakes" instead of brakes.
That's weird, because it's usually the 'L' sound that Pacific Asians cannot pronounce. BTW, according to IMDB the film was originally to be called Clash, but they renamed it Crash in order to be more sensitive to the Pacific Asian community.
Crash is a mediocre film that does a downright awful job of imparting any meaningful lessons due to the base simplicity and Hollywood gloss it required to be a commercial success and recoup its large budget.
Commerical success is a good thing. Widespread appeal is a good thing. Do not think for a minute that because a film is "small", "independent", or "arthouse", that it is necessarily good. The vast majority of indie arthouse films are utter piles of amateur hour wannabe steaming sshhiitte.
The main reason that "indies" profess hatred of commercial film success comes from one emotion: envy. They would love to be Spielbergs, but their stuff sucks and nobody is interested. And they hate that.
Not that there aren't good small films and horrible big films. But there is a mindset in the arthouse community that commerical success is synonomous with bad quality, while their "little" films are automatically imbued with cinematic magic by their sheer lack of size. I have to call BS on that mentality.
Commerical success is a good thing. Widespread appeal is a good thing. Do not think for a minute that because a film is "small", "independent", or "arthouse", that it is necessarily good. The vast majority of indie arthouse films are utter piles of amateur hour wannabe steaming sshhiitte.
The main reason that "indies" profess hatred of commercial film success comes from one emotion: envy. They would love to be Spielbergs, but their stuff sucks and nobody is interested. And they hate that.
Not that there aren't good small films and horrible big films. But there is a mindset in the arthouse community that commerical success is synonomous with bad quality, while their "little" films are automatically imbued with cinematic magic by their sheer lack of size. I have to call BS on that mentality.
I'm not a part of the "arthouse community" and I never said there was anything wrong with commercial success. I'm not saying Crash is bad because it turned a profit. I'm saying it's bad because of its so-called "plot developments" and its ultimate "lesson." Many, if not most great movies were box-office hits. But no matter how you slice it, racial reality is not something most people are interested in acknowledging in everyday life, much less watching on the silver screen. Given its uniquely sensitive premise, if the Crash screenplay was ever any good, it had to be modified so people would watch the finished product.
Last edited by ElijahAstin; 01-31-2013 at 10:31 PM..
I have also noticed that in almost EVERY single movie with an Asian in it that he or she ( but mainly the Asian guy) is depicted in a poor light. Just watched the movie "The Sessions" which is a nice romantic comedy but it still showed an Asian male motel manager being a moron toward the female and taking money under the table and lastly as being tactless. I also saw Hemingway and Gellhorn and the Asian had a subservient role. Also in Taken 2 and Arbitrage. Same thing. I have actually yet to see ONE movie where the Asian male was not put down in the movie. Hollywood hates Asians. We should boycott Hollywood products.
I don't remember this movie very well, but there is a overall problem with people confining prejudice in definition to black and white, with blatant ignorance and lack of sensitivity to other manifestations of racial discrimination. Most recently, "Red Dawn" and "Cloud Atlas" showed mass slaughtering and hatred towards people of Asian descent, and these were released within the past year.
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Asians in movies
