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一：
ptv
Crash" is an enmble film with veral intercting stories, all of them about people who can't quite em to understand how things turned out the way they did or how they themlves turned out the way they did. Most of them find out, in the cour of the movie, that they are capable of more -- or less -- than they thought they were.
Paul Haggis, the screenwriter for Million Dollar Baby has co-written and directed a devastating movie about people who are very much like us, with one important difference. It's as though the drinking water in Los Angeles has been spiked with some mild de-inhibitor that makes people say what they are thinking. In this film, everyone says the most horrifyingly virulent things to everyone el: family members, people in business, employees, and strangers, reflecting a range of prejudice on the basis of class, gender, and, above all, race.
The comments are sometimes made angrily, sometimes carelessly or thoughtlessly, but often, and more unttlingly, matter-of-factly. As vicious as the insults are, the part that hurt托福经典加试
s the most is that people don't care enough, don't pay attention cloly enough, to know the people they are insulting. "When did Persians become Arab?" asks an Iranian, who cannot understand how people can hate him without taking the time to know who he is. A Hispanic woman explains to a man she is sleeping with that she is not Mexican. Her parents are from El Salvador and Puerto Rico. He tells her that it doesn't matter becau they all leave cars on their lawns anyway. 二级建造师报名表
The movie is intricately constructed, going back and forth between the characters and back and forth in time. We get a glimps of moments that create a mosaic in which we e the pattern before the characters do. The movie has big shocks but it also has small glimps and moments of great subtlety. A black woman looks at her white boss while he talks to his wife on a cell phone and we can tell there is more to their relationship than we have en. The daughter of immigrants we have only en in one context shows up in another and we e that her professional life is very different from what we might have imagined, reminding us that racism may be inextricably intertwined with America, but so is opportunity.新会计制度
Like Altman's classic Short Cuts, and Anderson's Magnolia, Crash, by writer/director Paul Haggis weaves a tale of multiple characters through the web of streets we have come to know as Los Angeles. Unlike tho other two films this one has a very specific theme to explore. From the opening line uttered by Don Cheadle we know this is to be a film about how people relate, and from the interchange that follows between Jennifer Esposito and Alexis Rhee (pretty sure she plays the Korean female driver who rear-ended her) how people relate tends to be ruled by first impressions or prejudice.
Race is paramount in this film, and all our preconceptions of who people are get twisted and turned through the intricate plot. With each new additional character we find another assumption, another stereotype, and then watch as that preconception is obliterated as the character develops. It is a credit to the deftly written script, tight direction and exceptional acting talent that every one of the many characters is fully realized on screen without ever feeling one-dimensional.
英文版吻别是谁唱的vaccine
I would love to discuss some of the details of what happens to explain how well it is done,
queensizebut part of the magic of this film is allowing yourlf to be taken on this ride. Mind you, this isn't a ride of pleasure. The first half of this film is unrelentingly in its ferociousness. I could literally feel my rage at some of the characters forming to a fever pitch. The fear and hatred I was confronting wasn't just on the screen, but in the pit of my stomach. And in one absolutely brilliant moment I was literally sobbing at the expectation of horror unfolding, only to be cathartically relead in a most unexpected way.
Mr. Haggis was in attendance at the screening I saw and explained that the idea for this film came to him one night sometime after 9/11 at when his own memories of a car- jacking experience from 10 years before wouldn't leave him alone. Clearly this film was his way of relieving tho demons of memory, using the catharsis of his art to unleash them and in doing so has given to all viewers of cinema an opportunity to examine our own preconceptions about race relations and how we treat each other and think of ourlves. He mentioned in the discussion after-wards that he likes to make films that force people to confront difficult issues. Films that ask people to think after the film has ended and not just leave saying: "that was a nice film".
This isn't a "nice" film, and I would expect that it will provoke many a discussion in the ensuing weeks when it opens nation-wide. It's a discussion long overdue for this country, and it took a Canadian to bring the issue to the fore in this brilliant, thought provoking film.
my girlfriend>thereof三：
Enmble features can be daunting, yet some filmmakers embrace the challenge, and their results reward an audience. A lot of characters are woven into the tapestry of Crash, the feature directing debut of TV veteran Paul Haggis. (Haggis was also Oscar nominated for writing the screenplay of Million Dollar Baby.) The story unfolds in Los Angeles, where hostility is often a barrier to intimacy, and hatred and fear cloud judgment. Don Cheadle plays Graham Waters, a police detective investigating what may be a racially-motivated killing. Graham is having an affair with his Latina partner (Jennifer Esposito), whom he variously refers to as "a white woman" and "Mexican," neither of which is accurate. Matt Dillon is LAPD officer Jack Ryan, a 17 year veteran of the force w
ho actions often cross the line. When he fondles a woman (Thandie Newton) during a routine traffic stop, his partner (Ryan Phillippe) wants to ver their professional relationship. Meanwhile, the D.A., Rick Cameron (Brendan Frar), and his wife, Jean (Sandra Bullock), become crime victims when their car is stolen by a pair of thieves (Chris "Ludicris" Bridges and Larenz Tate).
