电影《CRASH》(撞车)影射出的社会问题不再局限于种族的冲突,信仰的分歧,而是有着另一个深刻的象征意义,人类面临的现实困境和生存状态已不是科技发展所能解决的矛盾。人性的碰撞与文化价值的冲突导演着现实社会一次又一次的撞车,多元化的文化和不可磨合的价值观念交融出的复杂社会能否和谐却难以定论。象征性的意味表现的浓重而深邃,而操纵社会的灵魂,人性,又该如何避免激撞。InPaulHaggis'Crash,anarrayofcharactersliveinLosAngeles.Theirlivesintersectwitheachother,andtheygothroughanunbearablystraightforwardseriesofmelodramaticincidents,mainlyduetoacarcrash.Themovieasawholeisexecutedinapretend-mythicalstyle—astoundinglyoverused,absurdlyglossyspiritualsymbols,artificial,indulgentmelodramaticsinsteadofgenuinehumanityandinsight.Thecharactersareportrayedaseithervictimizedangelsorbigoteddemonsthatrepenttobecomevictimizedangels.Themovieitselfissoclean,manufacturedandmass-producedthatitfeelslikeaplasticshell.Thecharactersarenothingmorethanpopabstractionsthatbeginwithlittle-to-nonedimensionand,paradoxically,losedimensionastheyprogress.Thesocialandculturaltidbitsportrayedhereareillustratedinstraight,bold,plainlines.Crash'sformalityfeelssoout-of-place,souncomfortable,thatevenwithanyredeemingvalues,it'simpossibletoforgive.Now,technicallyspeaking,it'snottheworstmovieevermade,andit'snottheworstofthedecade,either.Infact,basedontechnicalguidelines,it'snoteventheworstmovieof2005.However,inapplyingtheJoeQueenantheory-—thatthetrulyworstmoviesevermadearetheonesthatshotforthemoonandoffshooted;themoviesthatbuggedyou;theonesthatstuckwithyouforalong,longtime-Crashisreallytheworstofitsyear.Itisalsooneoftheworstofthedecade(onlyTheVillage,ThePassionoftheChrist,Hancockandafewothersfareworse).It'swildlyvisionaryapproachsimplyfeltlikeamammoth-scalefailure.Itgottome.Itbuggedme.Thewhimperthismoviegotoutofsuchafruitfulideawassimplysadtowatch.Anyfaintmeritsorrespectableattemptsforgreatnessmadeitseemallthemoreheartbreakinglyterrible—thispretentious,cheapdisasterseemssowasted.Themovieisadeformedpasticheofpoliticalblindness,soullessnessandemptiness.Itappearedtomeasalifeless,rushedscam-amoviethatfeedsoffmassconsensusofopinionwithouttryinganythingrevolutionaryitself.Crashisamoviethatgivesitselftheundeservedassertionthatitreallyisrevolutionary-—yetitpatheticallyfollowsthecrowdwhileitobnoxiouslyassumesitisleading.Thismoviecouldhavebeensomuchmore—somethingmodest,somethingin-touch,somethingrelevant--or,attheveryleast,somethingtolerable.《Crash》被翻译成撞车，我觉得多少有点轻率。因为“撞车”二字，不足够反映影片的丰富内容，不足以反映片中深刻的主题。撞车，在本片中出现了4次，可谓贯穿整片。但是，crash，还可以翻译成为“冲撞”或者“撞击”。影片更多的是说“冲撞”，种族之间的冲撞，亲人、同事或者陌生人之间的冲撞，文化与文化之间的冲撞，甚至，自己与自己的冲撞。这部戏，剧情零乱而整凑，讲述的是很多个人的故事。总是，有一条主线，隐隐的连接每一个人，把所有故事串成一条珍珠项链。如同，真有个上帝的手，轻轻一撮，拈起一团线，就可以微笑的操纵几个木偶。使得若干看似毫不相连的人物，得以粉墨登场，同台演出。实在很奇妙。因此我看了两遍，试图握住故事的主线。一对白人夫妇，丈夫是检察官，妻子怀疑他的下属对他有意。在回家路上，迎面走来两个年轻黑人，有意或无意的，妻子挽起丈夫手臂，转身上车。这一动作让两个黑人觉得她在歧视他们，抢走了他们的车。回家后，妻子坚持一定要丈夫把所有的锁都换了，并对南美换锁人持偏见，觉得他也是抢劫分子。夫妻争吵，但是丈夫也忍不住咒骂黑人，尽管...
