Crash Streaming
David Cronenberg takes chances and his pushing the edge of cinematic art is what makes his films so appealing. JG Ballard’s controversial new Atomize seemed an unlikely prospect for a film, so dusky were its explorations of the outer zones of excitation and their relationship to near-death events. But Cronenberg worked through making Ballard’s visions visual and his screenplay based on Ballard’s book is more about interior dialogue and visceral sexual encounters as they portray to trauma.
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James Ballard (James Spader) is a successful TV director who spends as worthy time as a lothario as he does making film. He is married to Catherine (Deborah Kara Unger) whose beget sexuality leads her into stray paths. The two seem to connect physically but the fire is diminishing: they both concur that encounters with other partners enhance their sexual experiences. James is in a car accident and survives with a broken leg and scars, but the other car’s male driver was killed and his surviving female companion Helen Remington (Holly Hunter) is hospitalized with James. While in the hospital both encounter a curious, scarred, limping male photographer Vaughn (Elias Koteas) who takes photos of the scars and trauma results of both James and Helen. Catherine visits James in the hospital and seems to accept excitement in the scars and orthopedic paraphernalia binding her husband.
Once James is released from the hospital he is strangely drawn to the car he wrecked and finds Helen in the same mindset. The two proceed into physical attraction as well as an emotional attraction to Vaughn. Vaughn is obsessed with auto accidents, having been in many, and he stages illustrious car accidents (James Dean, Jayne Mansfield, etc) for a captive audience – which includes James, Helen, and Catherine. Vaughn insidiously draws the three into his obsession, sharing his ‘actors’ and fellow travelers – including Gabrielle (Rosanna Arquette – with both legs in orthopedic mechanisms), Colin and Vera Seagrave (Peter MacNeill and Cheryl Swarts) and those who wait on him stage his ‘accidents’. Vaughn explains that he is exploring how to enact that sensation of horror one feels during a car smash and equate it with orgasm. The curious group of folks all sexually interact with abandon: the crashed car becomes the bedchamber for bizarre sexual acting out. And how this all plays out in the kill is the fragment of the film that simply must be seen to feel the experience.
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This is clearly NOT a movie for everyone. The CD contains both the NC and the R rated version: I watched the NC version and while it is graphic and focused on sex it is oddly uninvolving emotionally – we care shrimp about the people we meet. Perhaps section of the memoir here is that with the progressively dehumanization of man in his symbiotic relationship with machines, relating to fellow humans on anything except the sensual gratification is something we are losing. That is the kind of remarkable statement Cronenberg shows us with these passionate yet wintry people. The cast is exceptional, especially Koteas whose warped character is wholly three-dimensional as opposed to the oddly uninvolved characters Spader, Unger, and Hunter describe. A dizzying experience! Grady Harp, October 05
“Censors tend to do what only psychotics do… they confuse reality with illusion…I don’t have a just conception. I’m a Canadian.” These are the words of visionary film maker, David Cronenberg, director of Videodrome, The Cruise, Naked Lunch, Rabid and Dull Ringers. Here we’re going to quiz his film ‘Crash’, from the 1973 original from J.G. Ballard. Wreck debuted at Cannes in 1996, and won many awards over the next year or so.
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Although not XXX smut, this film is one of the most eerily erotic movies of the past decade. The eroticism starts from the very first scene, Deborah Kara Unger standing in front of a diminutive airplane in a hanger. The procedure she purposefully takes her breast out of her bra, leans over and allows the nipple to kiss the chilly metal of the plane, and then receives a man, identity unseen, entering her from the rear crooked over the machine… in many ways the subtle sensualities space the viewer’s mind dwelling to inspect the rest of the movie.
Cut to a scene of James Spader, shagging the camera girl in the support room of a studio site. On arrival home, Unger and Spader casually and respectfully debrief each other – more worshipful listening than interrogation. Shortly, however, the violence central to the film arrives, with Spader driving alone, distracted, and swerving off the road and head on into a car. He is injured and thrown into shock – the other driver is ejected and shot like a rocket headfirst through Spader’s windshield, unimaginative. Looking up, Spader notices the passenger of the other car, Holly Hunter, inadvertently revealing a breast as she tries to free herself from her seat belt. The juxtapositions continue.
Thrown together by the accident of machine and fate, Hunter and Spader meet again in the hospital, and yet again – more fatefully – at the impound yard. Both arriving as if compelled, they get themselves driving together in a car identical to the one Spader crashed, they nearly smash again, and go immediately by almost unspoken simultaneous agreement to a public garage where they create admire within the car.
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An unfamiliar man who investigates and recreates celebrated automobile crashes, played by Elias Koteas, introduces Spader & Hunter to an esoteric private club. They recreate the death fracture of James Dean’s Porche … same car, same lack of seat belt, all the details, regardless of the risk to the recreators. We also meet Rosanna Arquette, colossal metallic braces covering her shaded lace outfits, crippled and yet embracing her possess sexuality fully. And we go on, slipping down a slope, into every combination of sexual encounter between the girls, the boys, the girls and boys, all intertwined with the violence of the ultimate urban technology. Gender soon means less than the context of the paraphilia. And curiously, most of the sex is rear entry, not facing each other, distanced as it is coupled.
In your heart of hearts, you’ll realize at some point in this film that there is something about your believe sexuality, something whether deeply hidden or not, that is every bit as potentially pathological as these folks. The dissimilarity in many cases is simply whether or not it interferes with your life or if you can incorporate it into your common fetishes and continue on with job, family, and all.
“It’s a hazardous film in many ways,”’ Cronenberg said. “Everyone in the film is both fearful of and enraged by the challenge of exploring society’s fascination and our personal fascination with technology and sexuality.”’ Critics split widely on the film internationally, with Roger Ebert stating “It left me wishing somebody would prefer this noteworthy danger to construct a film about the kinds of things that turn ME on.”
I recommend it. Seize a chance, and leer how mighty you can identify with yourself. You don’t have to articulate anyone what you choose.
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