Crash: It's about Power

When I was in 6th grade, my best friend was black; we were the only non-Caucasian kids in my 6th grade class in Watkins Mill Elementary School when I first came to the States. My best friend in Junior High was a Sheik, and I attended a High School program where a third of the kids were Jews. Most of my college friends are Korean Americans, but most of my colleagues are Caucasians and Indians, and my latest good friend is a German.
One of the biggest ironies I felt about racism, was how striking it is that the same person who would spew racist slurs at the slightest provocation during a minor altercation with a stranger or while making stereotyping remarks about another, could also be a capable of being a kind, a loving or a noble person. Prejudice, it turns out, is not a character, but a preconceived judgement that can blind even the keenest of the mind and the kindest in the heart. They say 'racism is ugly,' but it often reflects the rawest and the most inhibited hatred that seems to come out of nowhere.
By showing how the issues each character struggles with in the storyline lead to prejudice and manifests in racism, Crash shows that it is the alure of power and control, especially in the context of helplessness, hopelessness and frustration, that the characters seek as a form of escapism through racistic abuse of one another; and it suggests that an honest introspection that examines the skeletons in one's closet, and an open dialog that leads to acceptance of one's true vulnerabilites and brings about understanding, compassion and healing, that are keys in shining hope onto confronting and eliminating racism.
Crash never seems intimidated in illustrating different ways racism manifests, covering the entire range from subtle display of contempt, to explicit and perverse violence (PC audience is well advised to steer clear), yet what lifts it from the realm of simple and obvious moralistic fable is the generouos sprinkling of humor and humanity that heightens the impact of main convention of twists and revelations.
On a much lighter note, I thought that Matt Dillon's casting was an unexpected surprise (I cannot think of another actor who could have played this role better), but the bigger mainstream actors like Sandra Bullock and Brandon Frasier were miscast. The acting chops of the likes of Don Cheadle and Terrence Howard definitely add the requisite gravita, and Ludacris injects a light-hearted (or as light-hearted as you can get with subject like racism) comic touch that makes this movie that much more... accesible.
Rent this one, friends. You'll definitely have some meaningful conversations over beer in a pub afterwords on this one.
On a side note, I'm thankful for all of your differences; it certainly makes my life a whole lot more interesting and colorful! :-)
