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David Cronenberg. Starring James Spader, Deborah Kara Unger, Elias Koteas This is a review of an NC-17 film and as such contains discussion of some topics which are better suited to mature readers. There’s a scene a little more than halfway through the movie which defines Crash for me, one which sticks the film’s thumb firmly in the eye of several other movies which are blandly vanila by comparison. At this point, Ballard (Spader) has been sucked up into the world of the crash enthusiasts, becoming involved with them alongside his wife, Catherine (Unger) and sometimes lover, Helen (Holly Hunter). The king of the crash enthusiasts is Vaughan (Koteas), a lean man with scars all over his face and body. Vaughan is driving his old Lincoln around at night with Ballard in the passenger seat; the two of them are talking almost familiarly by now. Ballard has made a oddly funny comment calling the Kennedy assassination a sort of car crash, which Vaughan agrees with emphatically.

“This is all very satisfying,” Ballard says. “I’m not sure I understand why.” Previously, Vaughan had traced for Ballard the roots of his crash enthusiasm: it came, he said then, from “the reshaping of the human body by modern technology.” This is the kind of thing which was interesting when people like talked about the idea of contemporary cyborgs in the ’80s. Even in the mid-late ’90s, this sort of reshaping is interesting yet hardly original. By now, the reshaping of humans by technology is so commonplace that the people who decry the proliferation of screens, for example, are given the same looks as horse-and-buggy fans in the 1920s. When Vaughan drops a new phrase, referring to car crashes as “liberation of sexual energy,” Ballard’s a little confused. What happened to the reshaping of human bodies by modern technology, he wonders. Vaughan scoffs kindly.

“That’s just a crude sci-fi concept,” Vaughan replies. “It floats on the surface and doesn’t threaten anybody.” Thus does Cronenberg raise up both middle fingers and stake his turf. He’s planting his flag here, in the movie about people who get off via car wrecks. In the face of this sort of boldness, even good films – The Matrix, Tron, Logan’s Run, even Apollo 13 – seem trite. Technology changes people. Sometimes it even threatens them.

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But Crash dares to be so much more aggressive than virtually every other film which considers how people and technology interact. It doesn’t make it a great film, necessarily, but it builds strength in the movie’s blood. Crash is powerfully provocative: it makes us think and recoil simultaneously.

I don’t pretend to be a Cronenberg expert. This is only the third film of his that I’ve seen, and it’s by far the earliest.

(My reviews of and can be found elsewhere on this website.) Yet a running thread which I’m able to see in his work, beyond the wild sex or the remarkable violence, is this need for scientific accounting, deriving as much pleasure from that as from the copulation or carnage. A Dangerous Method is self-explanatory in this way, as its principals are all old-school psychologists by the end of the film; A History of Violence turns Tom/Joey’s ability to beat large numbers of people into puddles of ectoplasm into a rapid, yet traceable, series of motions. Tom/Joey’s cognition about killing is what’s fascinating, not the actual act thereof. In Crash, Vaughan has an encyclopedic knowledge of car crashes. He lives in his car, as we find out, but he has a workspace outside of it where he keeps great ledgers of photographs of wrecked cars, photographs of their bloodied and bruised (and occasionally dead/dying) passengers, videotapes of crash dummy footage. One of the film’s funniest sequences – and Crash lives for humor so dark you can’t believe you’re laughing – features Helen fighting with a video cassette to make it continue playing, winning, and then sitting down and grabbing the groins of the people on either side of her.

Our second introduction to Vaughan, and first by name, occurs when he and two other men recreate the James Dean crash without seat belts, helmets, or roll cages. The scene itself is totally electric. The realization of “Oh my word, they are really going to do this” is a head rush. Vaughan’s introduction to the crash, as is fitting for any six seconds of terror to follow, is lengthy and dramatic. His voice is breathy; if Vaughan’s interest was taxidermy, he would be profoundly campy. “That guy’s gotta see us,” he repeats; apparently these were Dean’s last words. This appears to be something of a hobby for Vaughan, who intends to recreate that Jayne Mansfield crash some other time.