电影crash.docVIP

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。In Paul Haggis Crash, an array of characters live in Los Angeles. Their lives intersect with each other, and they go through an unbearably straightforward series of melodramatic incidents, mainly due to a car crash. The movie as a whole is executed in a pretend-mythical style—astoundingly overused, absurdly glossy spiritual symbols, artificial, indulgent melodramatics instead of genuine humanity and insight. The characters are portrayed as either victimized angels or bigoted demons that repent to become victimized angels. The movie itself is so clean, manufactured and mass-produced that it feels like a plastic shell. The characters are nothing more than pop abstractions that begin with little-to-none dimension and, paradoxically, lose dimension as they progress. The social and cultural tidbits portrayed here are illustrated in straight, bold, plain lines. Crashs formality feels so out-of-place, so uncomfortable, that even with any redeeming values, its impossible to forgive. Now, technically speaking, its not the worst movie ever made, and its not the worst of the decade, either. In fact, based on technical guidelines, its not even the worst movie of 2005. However, in applying the Joe Queenan theory-—that the truly worst movies ever made are the ones that shot for the moon and offshooted; the movies that bugged you; the ones that stuck with you for a long, long time - Crash is really the worst of its year. It is also one of the worst of the decade (only The Village, The Passion of the Christ, Hancock and a few others fare worse). Its wildly visionary approach simply felt like a mammoth-scale failure. It got to me. It bugged me. The whimper this movie got out of such a fruitful idea was simply sad to watch. Any faint merits or respectable attempts for greatness made it seem all the more he