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When a college president makes dirty phone calls, when a movie star or a TV preacher picks up a hooker in a red light district, we ask: What in the world were they thinking of? The answer is, they are thinking (a) I want to do this, and (b) I can get away with it. "Crash" is a movie that understands that thinking. One of the characters speaks of "a benevolent psychopathology that beckons toward us.'' It is a strange and insightful film about human sexual compulsion ("Belle de Jour," "Peeping Tom," and "Damage," are others). By deliberately removing anything that an audience member is likely to find even remotely erotic, Cronenberg has brought a kind of icy, abstract purity to his subject.
Who Wants to Walk with Elias download di film mp4
Soon after, James is in a head-on crash. A man in the other car is propelled through the windshield and into James' car, dead. James is badly injured but alive. His eyes lock onto the eyes of Helen (Holly Hunter), the woman in the other car. They find themselves in the same hospital ward, walking with canes and braces, trailing their I.V. bags behind them. After they're released, they happen to meet in the car pound, where they've gone to visit their smashed cars. "Can I give you a lift?'' James asks. "I somehow find myself driving again.'' Soon they narrowly escape another head-on crash, and then they drive directly to an airport garage and have quick, passionate sex.
More characters are introduced. Vaughan (Elias Koteas) is a photographer who specializes in re-staging celebrity car crashes, like the James Dean crash. "Notice that we use no seat belts, padded suits or roll bars,'' he tells his small but exclusive audiences. "We rely only on the skill of our drivers.'' He lives with Gabriella (Rosanna Arquette), who walks with braces. He works with a stunt driver (Peter MacNeil). He drives a Lincoln Continental similar to the one JFK was riding in when he was assassinated.
It's like a porno movie made by a computer: It downloads gigabytes of information about sex, it discovers our love affair with cars, and it combines them in a mistaken algorithm. The result is challenging, courageous and original--a dissection of the mechanics of pornography. I admired it, although I cannot say I "liked'' it. It goes on a bit too long. Afterward, I found myself wishing a major director would lavish this kind of love and attention on a movie about my fetishes.