![]() James Spader is in one of his very best performances- albeit only somewhat removed from the sexual deviants of Sex Lies & Videotape and Secretary (maybe closer to the latter, however without any of that film's outright satire)- as Ballard, also the author this film is based upon. But the psychology behind the characters ends up being more striking than anything, and like many of Cronenberg's films, the duality of man (and woman, apparently) comes strongly into play, and the merging of the two as usually becomes the case. ![]() ![]() It certainly has that effect on a first viewing of veering way too close into the soft-core boundaries, and even seems like the kind of thing that I used to see in that 'scandalous' section of mainstream adult films as a kid like Last Tango in Paris. Seeing it now I'm much more absorbed into the wretchedly but totally, sensually charged work by the actors and the crew, and Cronenberg's utmost trust and professionalism with both. It was almost TOO dark at the time, and I stayed away until recently when it was shown on TV late one night. But I didn't pay quite as much attention to the story as I should've, aside from the James Dean subplot (as I remembered it anyway, with Elias Koteas's character), and from the very dark atmosphere. David Cronenberg's Crash was one of those "dirty" movies I more than likely wasn't supposed to rent let alone watch when the NC-17 cut first came into existence on video (and, if anything, the film was more than an eye-opener in my young teen state, going even further than I had seen at the time with Boogie Nights or Kids). ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |