Crash-Hasswoche, Tag 4
Von Uli am 9. März 2006, 23:46
Dieser tolle Blogeintrag des Filmkritikers Matt Zoller Seitz pinnt wohl so ziemlich alles fest was mich an dieser Gutenachtstunde für weiße Mittelständler stört. Chapeau!
Haggis doesn’t care about such distinctions because deep down he doesn’t actually want to say something useful about the modern state of race relations. He just wants to be able to play with racially charged material and be acclaimed for his bravery. The up-to-the-minute realities of American racism are too subtle and elusive for Haggis and his cowriter to grasp, and require too much care to dramatize. Even if Haggis acknowledged the need for subtlety, he'd probably ignore it anyway, because it would clash with his preferred directorial mode, monumental primitivism. This filmmaker wants blood and thunder in CinemaScope and Dolby digital. He wants to shake you up. So he lays bare the American psyche circa 1971, dresses it in 2005 fashions and hopes we’re too stunned and moved to notice that he’s lied to us.
Haggis doesn’t care about such distinctions because deep down he doesn’t actually want to say something useful about the modern state of race relations. He just wants to be able to play with racially charged material and be acclaimed for his bravery. The up-to-the-minute realities of American racism are too subtle and elusive for Haggis and his cowriter to grasp, and require too much care to dramatize. Even if Haggis acknowledged the need for subtlety, he'd probably ignore it anyway, because it would clash with his preferred directorial mode, monumental primitivism. This filmmaker wants blood and thunder in CinemaScope and Dolby digital. He wants to shake you up. So he lays bare the American psyche circa 1971, dresses it in 2005 fashions and hopes we’re too stunned and moved to notice that he’s lied to us.
