C:\Documents and Settings\Allen\Desktop\Crash Booklet.doc
Level 3 English
Study Guide
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Sample Examination Questions
2004
Either:
1.
Discuss the effectiveness of the techniques used to integrate different storylines in a film you have studied.
(NOTE: Techniques may include narrative, structural and / or filmic techniques.)
Or:
2.
Explain how a film you have studied depicts conflict, and discuss how this depiction influences the viewers’
response to the ideas and characters in the film.
Or:
3.
With close reference to a film you have studied, discuss the various techniques used to manipulate the viewers’
attitude to the characters and events depicted.
(NOTE: Techniques may include narrative, structural and / or filmic techniques.)
2005
In answering one of the Film options below, you should discuss at least ONE full length film OR several short films.
Either:
1.
To what extent do you agree that the techniques of film are ideally suited to the treatment of themes?
Discuss your views with close reference to the treatment of a key theme in a film (or films) you have studied,
referring in detail to at least TWO techniques.
Or:
2.
Or:
3.
To what extent do you agree that film directors leave a distinctive mark on the films they create?
Discuss your views with close reference to a film (or films) you have studied.
To what extent do you agree that it is useful to categorise films by genre (eg documentaries, action thrillers, ‘chick
flicks’).
Discuss your views with close reference to a film (or films) you have studied.
2006
In answering one of the three options below, you should discuss at least ONE full-length film or SEVERAL short films.
Either:
1.
To what extent do you agree that the production features of a particular scene can contribute to a film’s central
idea(s)?
Respond to this question with close reference to a film (or films) you have studied.
Or:
2.
With close reference to a film (or films) you have studied, discuss what makes a film distinctive in terms of
artistic and/or technical achievement.
Or:
3.
To what extent do you agree that films offer insight into society (past or present)? Respond to this
question with close reference to a film (or films) you have studied.
SCHOLARSHIP
1.
Discuss the extent to which film directors devise ways of creating empathy between viewers and the protagonist(s).
Refer closely to one or more films you have studied.
2.
Discuss how films offer insights into the psyche of a nation or a social or cultural group. Refer closely to one or more
films you have studied.
3.
Discuss, with reference to at least one film you have studied, the ways in which images from today’s cinema allow
people to recognise themselves and their culture.
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Background to the themes
The title establishes the central metaphor in the film. Los Angeles, like Auckland, is a city of cars, unlike
London or New York where people use public transport and have to walk to the metro station. Where there are a
lot of cars in a busy city, there will also be a lot of crashes.
But Haggis compares car crashes to the collisions between people of different races and cultures in this
multi-racial city. He uses the car crash as a metaphor for cultures colliding into each other.
He doesn’t introduce the theme in any subtle fashion but states it baldly. The film starts with a crash and
immediately a central character, Detective Graham Waters played by Don Cheadle, says "It's the sense of touch.
… Any real city, you walk, you know? You brush past people. People bump into you. In L.A., nobody touches
you. We're always behind this metal and glass. I think we miss that touch so much that we crash into each
other just so we can feel something."
I don’t think you need to take this literally - although there have been psychologists who maintain that people get
a kick out of crashing! I think the character is just so world-weary that he is thinking of a worst case scenario.
What it does suggest is that people don’t connect naturally – they make contact only when they accidentally
collide and that is sad. There is so much misunderstanding and prejudice amongst the different races: white,
black, Mexican, Latino, Iranian, Chinese, Korean and Thai among others. This is interesting because increasingly
the major cities of the world contain a very significant mix of races. Even Auckland is becoming a melting pot
with a recent influx of people from China, South Africa, Korea, Somalia as well as long-standing immigrants like
Pacific Islanders. Many of these groups stick together in city or suburban enclaves and are regarded with
suspicion by the earlier or original inhabitants.
Since 9/11 another cause of tension has been added to the mix and you could argue that it is more necessary
than ever to take care we don’t label people. Understanding each other is probably the only way the world will
solve the present problem of terrorism??
How does the theme of racial tension and prejudice manifest itself?
Haggis uses a multiple storyline narrative structure to confront us with this theme. In each of the 10 – 11 of
these, race is an issue. He threads the storylines through the film with skillful editing and brings them all to a
head, some more happily than others but with a slight sense of redemption at the end. Although many storylines
compete for dominance, one in particular stands out, the story of Detective Graham Waters. This links into other
storylines like that of his brother Peter and Peter’s associate, Anthony. Waters (Cheadle) starts and finishes the
film and his story is typical of all others. He has a female sidekick and lover who seems Mexican but is really the
daughter of a mother from El Salvador and a father from
She is abused in a road rage situation for being
Mexican and Waters himself, when angry, makes a joke about her race. His little brother is a carjacker and his
mother a drug addict. His mother blames him for his brother’s death because he rose above his station by
becoming a detective in the LAPD and was therefore no longer understood his family. The Waters plot holds the
film together as a sort of framework.
Two other prominent storylines intermesh: those of Farhad the Iranian shopkeeper and Daniel; the Mexican
locksmith. The former’s purchase of a gun for which his daughter buys blanks is a crucial plot element used to
create suspense and surprise twists. Daniel’s gift of an “invisible cloak” to his young daughter (they had been
victims of a drive by shooting in the recent past) is a similar plot element which eventually coalesces with
Fahrads’ story to provide a primary plot twist. When Fahrad tries to shoot Daniel because of his frustration and
rage cause by racial distrust, he is saved from killing Daniel’s daughter too by accident through the
thoughtfulness of his daughter in purchasing the blanks at the start of the film. The little girl thought she saved
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her father by putting her body between the gunman and her father in order to protect him with the cloak. This is
another plot twist, well foreshadowed by earlier events. Both these ‘twists’ are used to show an element of hope
in the battle against racial tension. Some people are wise and trusting. The little girl becomes Farhad’s “angel”.
Two other twists are the saving of black woman Christine by the white racist cop who molested her earlier an the
killing of black carjacker, Peter by the most non-racist white cop of all: Haggis uses these plot elements to
show that we all have some prejudice but that we all have the ability to rise above it – we are all human. These
twists seem incredible and overdone when looked at at leisure but during the film itself, disbelief can be
suspended because of the urgent pace, seamless editing and the rapid piling up of images of tension. There is also
a surreal tone and look to the film that gives it a nightmarish edge that help us buy into it.
There has been much criticism about the exaggerated nature of the theme and the way it is presented. However
you could argue that Haggis has done this deliberately to show that we ALL have to strive to judge others fairly,
not by race and stereotypes.
More about Themes
All the sub-themes are related to race.
• Stereotyping and prejudice
• Abuse of power by those in a stronger cultural position
• Powerlessness and frustration
• Language and its power to reinforce racism
• The divisions between people and the lack of touching; when people do make contact it is often violent
and confrontational or a car crash as the title suggests.
• Fear of strangers
Stereotyping and prejudice
Graham, Kim Lee both call Ria a Mexican
RIA: You want a lesson? I'll give you a lesson. How about a geography lesson? My father's from Puerto Rico.
My mother's from El Salvador. Neither one of those is Mexico.
Farhad is thought to be an Arab
GUN SHOP OWNER: Yo, Osama… Yeah, I'm ignorant? You're liberating my country. And I'm flying 747s into
your mud huts and incinerating your friends?
SHEREEN: Look what they wrote. They think we're Arab. When did Persian become Arab?
Anthony gives prejudice an ironic twist
Look at us, dawg. Are we dressed like gang-bangers? Huh? No. Do we look threatening? No. Fact. If anybody
should be scared around here, it's us! We're the only two black faces surrounded by a sea of over-caffeinated
white people patrolled by the trigger-happy L.A.P.D.
Haggis, the director: This was something important I wanted to say – that we tend to lump all groups together. …
everyone from the Middle East is an Arab.
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Misuse of power and authority – related to race
Ryan misuses his over Cameron and Christine
Dixon and Hanson – Hanson's genuine complaint dismissed in the name of personal ambition and career
DIXON: Just like I'm sure you understand how hard a black man has to work to get to, say, where I am, in a
racist organization like the L.A.P.D. and how easily that can be taken away.
Flanagan 'buys' Graham by using his ability to lose an arrest warrant
GRAHAM: So all, uh... all I need to do to make this disappear is to frame a potentially innocent man?
Power and powerlessness: people explode because they cannot do anything about their
own situation – also related to race
RYAN: Look, you're not listening to me. This is an emergency. I keep telling you he's in pain. He can't sleep.
CAMERON: I'm not sitting on no curb, I'm not putting my hands on my head for nobody. [NB he talks 'black']
Language is a tool and symptom of racism and prejudice
Ria and Kim Lee
RIA: I "blake" too fast? I "blake" too fast. … I'm sorry you no see my "blake" lights.
Gun shop owner and Farhad
Am I making insult "at" you? Is that the closest you can come to English?
The nurse and Kim Lee
I am speaking English, you stupid cow! My husband name Choi Jin Gui!
Shaniqua at end
Uh-uh! Don't talk to me unless you speak American!
A certain type of language is expected of different groups and it is not seen as equal
CHRISTINE: You're right, Cameron. I got a lot to learn 'cause I haven't quite learned how to shuck and jive. Let
me hear it again. Thank you, mister policeman. You sure is mighty kind to us poor black folk.
ANTHONY: Listen to it, man! "Nigger this, nigger that." You think white people go around calling each other
honkies all day, man? "Hey, honky, how's business?" "Going great, cracker. We're diversifying." … "Let's give
the niggers this music by a bunch of mumbling idiots and sooner or later, they'll all copy it, and nobody will be
able to understand a fucking word they say."
FRED: Have you noticed, uh... This is weird for a white guy to say, but have you noticed he's talking a lot less
black lately? … Like in this scene, he was supposed to say, "Don't be talkin' 'bout that." And he changed it to,
"Don't talk to me about that."
DANIEL [to Farhad]: I'd appreciate if you'd stop calling me names.
Anthony uses words like 'brother' and 'their own' to refer to blacks, yet.
CAMERON [to Anthony]: Say it again, huh! Call me a nigger again!
Fear – people react as they do often out of fear
JEAN: But if a white person sees two black men walking towards her, and she turns and walks in the other
direction, she's a racist, right?
Hanson over-reacts and shoots Peter
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Characters
Because of the large number of characters, we do not get to know them in any great depth. (We see some of
Waters’ back story.) It is a real tribute to the director’s skill that we get to know characters quickly through
strong dialogue and acting.
Graham Waters / Don Cheadle
He is a sort of main character or protagonist as stated above. Disillusioned, he is nevertheless a successful and
respected detective who has obviously come from a poor black family and has overcome his disadvantages. He is
split in two by his own success which has separated him from his mother and brother. He is in some sort of
relationship, not very loving, with his colleague Ria and seems to love his family without being able to help
them. This causes him pain which makes him somewhat sad and repressed. Ria says of him when his mother
rings: Why do you keep everybody at a certain distance, huh? What, you start to feel something and panic? ... I
mean, really, what kind of man speaks to his mother that way?
His family problems drag him down especially when he has to lie to Flanagan to save his brother. His lines about
the lack of personal contact between the people of Los Angeles express his disillusionment with society and his
own loneliness. (See above) We are positioned as viewers to see his rudeness to Ria as an expression of his anger
and frustration with life, with Los Angles, with his family rather than a deliberate attack on her and other
Latinos. “Then I guess the big mystery is who gathered all those remarkably different cultures together and
taught them all how to park their cars on their lawns”
In the end Ria looks on sympathetically as he burns inside after his mother blames him for his brothers death.
Oh, I already know. You did. I asked you to find your brother, but you were busy. We weren't much good to you
anymore, were we? You got things to do.
I think Haggis is trying to show that black people like Graham and Cameron have baggage to deal with on
account of their race. There is a clobbering machine which affects some – whether it be their own family or
others’ prejudices. The treatment of this theme here is a little heavy handed but I think valid.
Graham is portrayed not only through his dialogue but through camera work and acting: take note of some shots
which shows his bitterness and pain. One such shot is the mid-shot when he picks up his brother’s shoe and you
can see his mind slowly making connections, a convincingly acted moment shown at the start and near the end.
Anthony / Chris 'Ludacris' Bridges
Young, black carjacker with a knowing wit in a Tarantino like fashion. He provides a lot of the commentary on
racism but in such a humorous and ironic way that we can tolerate his lectures. He adds humour and the casting
of ‘Ludacris’ in the role adds interest because he is a well-known rapper. He is also one of a series of characters
in the film who are angry and frustrated by race issues, even though he himself is ignorant of race, calling a
Korean man a Chinaman and giving the Thais money to buy chop suey. . He begins the main action with the car
jack and his action of freeing the Thai slaves is very near the end: an important role. Like some of the other
characters there is a hint of redemption at the end. His lowest point is probably when he carjacks Cameron’s car
then actually sees the apparently soft Cameron stand up to the police and is told by the latter. “You embarrass
me, you embarrass yourself. It is after that that we see him riding in the bus, previously something he was too
arrogant to do, and freeing the slaves. When he frees the slaves, saying “fing Chinamen” the director in his
commentary says “He’s learnt everything and nothing”.
Evidence
•
And black women don't think in stereotypes? You tell me. When was the last time you met one who
didn't think she knew everything about your lazy ass before you even opened your mouth, huh?
•
(PETER): How in the lunacy of your mind is hip-hop the music of the oppressor?
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•
You have no idea why they put them great big windows on the sides of buses, do you? … One reason
only. To humiliate the people of colour who are reduced to riding on them.
•
All scary-ass places for a brother to find himself. Drop Mo Phat at a Starbucks in Toluca Lake, that
nigger will run like a rabbit soon as somebody say "decaf latte."
Cameron Thayer / Terrence Howard
television director, upper middle class, wealthy, comfortable in his success; 'coming home from an awards show'
– suggest professional status
has never really experienced the reality of being black and poor – but is reminded of his vulnerable position by
the TV show's producer. [Is this because he is black or just a show of power regardless of race?]
is humiliated by the treatment meted out to him – but seems to lack any appreciation of how his wife must feel
after that way she was treated, which was much more invasive and offensive; self-centred?
his slipping into 'black' dialect and his ability to fight suggests he has pulled himself up from more humble
origins
loses control when Ryan stops them and roughs him up; regains it by the fire when he gets things back in
perspective
CAMERON: Sooner or later you gotta find out what it is really like to be black. CHRISTINE: The closest you
ever came to being black, Cameron, was watching The Cosby Show.
FRED: I mean, 'cause all I'm saying is it's not his character. Eddie's supposed to be the smart one, not Jamal,
right? You're the expert here. But to me, it rings false.
CAMERON: I'm not sitting on no curb, I'm not putting my hands on my head for nobody.
HANSON: Then stand where you are and keep your hands in sight. Can you do that, huh?
CAMERON: Yeah, I can do that.
CAMERON: [to Anthony] Look at me. You embarrass me. You embarrass yourself.
Christine Thayer / Thandie Newton
stylish, beautiful, assertive, gets angry at the way they are treated and speaks out
wants and needs comfort and support and gets none so lashes out at Cameron because can't at Ryan
loses control when assaulted by Ryan; regains it only when her husband reassures her that he loves her
CHRISTINE: I can't believe you let him do that, baby. Look, I know what you did was the right thing. Okay?
But I was humiliated! For you. I just couldn't stand to see that man take away your dignity.
# The Cabots and the Thayers are both wealthy, comfortable, successful couples, shaken out of their comfort
zones by people with guns – from opposite ends of the law-and-order spectrum. Cameron and Christine, initially
more fragile, seem able to get past it in the end; the Cabots' relationship seems less shaky but less warm; is held
up by political necessity and presumably the child.
Daniel Ruiz / Michael Peña
Mexican locksmith; called out late to change locks; always polite
tattoos suggest a rough past but has settled down with Elizabeth and is trying to make a good life; unlike every
other main character, he does not show a 'bad' side but is an island of quiet decency in a sea of prejudice
adores his daughter; is tender, gentle and sweet with her as he calms her fears; protects her against the world –
ironically setting her up to put herself into real danger
loses some control when he screws up the job-sheet at Farhad's shop and so sets in train the near-tragic events
DANIEL: [to Farhad]: I'd appreciate if you'd stop calling me names.
Dorri Golzari / Bahar Soomekh
strong, beautiful, calm, in control
her father thinks he is protecting his family but she protects him from himself
DORRI: You can give me the gun or give me back the money. And I am really hoping for the money.
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Minor Characters
Like most films, this one needs many minor characters to help tell its story.
Choi and Kim Lee – not seen enough to count as major characters, though he carries a sub-plot. Their marriage
provides a counterpoint to the other two prominent ones. There is genuine love and tenderness shown – yet he is
a trafficker in human beings.
Lieutenant Dixon – black police officer, Hanson's (and Ryan's) boss; knocks back Hanson when he wishes to
make a formal complaint against Ryan; represents the need to compromise, even with racists, to get ahead in
one's job
Fred (Tony Danza) – a power player cf. Rick; asserts his muscle over Cameron, puts him in his place.
Graham's mother – one of the victims of life; Graham's hostage to fortune. Important to provide the motivation
for his decision to give the DA's office what it wants.
Flanagan – the fixer-upper for Cabot, part of the political machine that decides so much of what happens.
Dynamic performance from William Fichtner in a cameo.
Karen - seems capable and confident, but she is left standing in the dark when Rick goes home to his wife and
son.
Lara – Daniel's hostage to fortune; her impetuous behaviour defuses Farhad's anger. She thinks she is protecting
her father. Elizabeth seen only briefly; suggests a happy marriage and happy home.
Lucien – makes Anthony look better by comparison – he is a real low criminal, with no scruples
Maria – to show kindness from a despised servant; demonstrate how barren a seemingly privileged life can be
Pop Ryan – to show another side to Ryan, a caring, hurting side
Shaniqua – takes rightful exception to Ryan's racism yet misuses her own power and position
All make significant contributions – leave any out, and the story is diminished.
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