Why Roger Ebert Loved ‘Crash’ Despite It Being Hated by Everyone Else

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At the 2006 Academy Awards ceremony, as Jack Nicholson stepped onto the stage to announce Best Picture, many spectators were convinced that Ang Lee’s gay-themed Western romance film Brokeback Mountain (2005), which had already won Best Director, Adapted Screenplay, and Original Score, and had taken top honors at the Golden Globes and BAFTAs, would claim the prize. However, when Nicholson opened the envelope, he revealed a surprise: “And the Oscar goes to…Crash!

Many people were taken aback when Paul Haggis’ expansive drama on racial strife in Los Angeles, which garnered much criticism for its superficial commentary, inconsistent character development, and fragmented storyline, surprisingly won over numerous critics. Even esteemed writer Ta-Nehisi Coates labeled it “The Most Disappointing Film of the Decade.

As a cinephile, I must confess that even before and after the Oscars, the movie “Crash” had a vocal champion in me: the esteemed American film critic Roger Ebert. Contrary to the general opinion on the film, Ebert, who deemed “Crash” as the best film of the year, found himself at odds with the critical consensus. Instead, he saw the film as intelligent and emotionally potent. Despite the intense criticism that followed “Crash’s” win at the Oscars, Ebert penned numerous columns, standing steadfastly by both the movie and the Academy.

Critics Clashed Over ‘Crash’

Interestingly enough, a significant portion of the feedback towards the movie “Crash” focused on its Academy Award-winning screenplay, which was often criticized as being heavy-handed, lacking finesse, and relying heavily on stereotypes. For example, Ty Burr from the Boston Globe argued that the characters frequently behaved in ways more akin to archetypes than real people. Likewise, Ta-Nehisi Coates stated that there weren’t any genuine human beings in “Crash“, but rather arguments and propaganda colliding forcefully, each one boasting about its own uniqueness. (‘Look, I’m a Black carjacker who resent being stereotyped.’) However, Roger Ebert held a completely contrasting viewpoint in his initial review, praising the screenplay as follows:

Haggis’ writing style is so authentic and adept at capturing everyday conversation that his characters appear genuine and convincing within just a short span of text.

Additionally, many conflicts within the movie are swiftly resolved through emotionally charged one-on-one encounters that seem to rehabilitate the prejudiced characters. For example, Jean (played by Sandra Bullock), the wife of a District Attorney (portrayed by Brendan Fraser), initially misjudges her Latino locksmith as a criminal, but later emotionally embraces her Latina housemaid when she tends to her ankle sprain.

Similarly, a police officer (Matt Dillon) stops a Black couple unjustly and later inappropriately searches the wife (Thandiwe Newton), while her husband (Terrence Howard) looks on powerlessly. Later, this same officer saves the woman from a burning car accident, an event emphasized by an overly sentimental score and visually stunning cinematography that portrays the rescue as a profoundly moving moment of reconciliation.

A Study of Racism Meant to Placate White People

Numerous commentators contend that this narrative style soothes white audiences and weakens its claimed progressive racial perspectives. Clarisse Loughrey from The Independent suggested that Crash, similar to other contentious Best Picture winners like Driving Miss Daisy (1989) and Green Book (2018), depicts racism as a matter of personal character flaws requiring correction instead of addressing it as an institutional issue. This approach allows the white audience to evade any feeling of collective accountability.

However, while critics such as Coates and Loughrey found the racial commentary in Crash to be weak at best and offensive at worst, Ebert held a more positive outlook. He believed that although Crash might not bring about any significant changes, it could inspire viewers to develop greater empathy towards people who are different from themselves.

A Mixed Legacy

After the 2006 Oscars, it became more widely agreed that Crash shouldn’t have won Best Picture. A survey by The Hollywood Reporter in 2015 found that most Academy voters would now choose Brokeback Mountain over Crash. In the same year, Paul Haggis, the director of Crash, admitted in an interview with Alan Sepinwall that he doesn’t believe his film deserved Best Picture: “I don’t think it was the best film of the year.” There were indeed other excellent films that year. While Crash won for Best Original Screenplay, many argue that every other nominee was superior (Syriana, Match Point, The Squid and the Whale, and Good Night, and Good Luck). Other films nominated in 2006 include A History of Violence, Capote, Howl’s Moving Castle, Walk the Line, Munich, and Junebug.

Despite the criticism, Roger Ebert stood firm in his praise for the film Crash. In two articles published in 2006 – one before the Oscars and another following the event – he argued that Crash was more nuanced and less problematic than many critics suggested. According to him, Crash is not a safe haven but a challenging movie about the complexity of human motivations. It showcases how racism isn’t just an issue of authority, but also affects relationships at eye level. Furthermore, it underscores that in various situations, we all have the potential to act in a shameful manner.

He also criticized fellow reviewers Kenneth Turan and Nikki Finke for suggesting that homophobia might have contributed to the loss of Best Picture for “Brokeback Mountain.” (It’s worth noting that Ebert was partly mistaken here, as “Brokeback Mountain” co-writer and co-producer Diana Ossana revealed to The Advocate that actors Ernest Borgnine and Tony Curtis openly refused to watch the film due to its subject matter, and she speculated that many other older male actors may have done the same privately.) To add fuel to the fire, Ebert even listed “Crash” as one of the top 20 films of the 2000s.

Ebert Still Deserves a Thumbs-Up

Pondering why Roger Ebert praised the film “Crash” so enthusiastically while many other critics dismissed it is quite challenging. Given his reputation as a sharp and knowledgeable film expert, it’s possible that he spotted something in “Crash” that others overlooked – a hidden gem that could solidify its status as a truly great movie. However, another perspective might be that his admiration for a movie criticized by influential figures of color like Ta-Nehisi Coates is due to personal biases, perhaps stemming from his identity as an older white man.

Regardless of the situation, there are two important points to consider. Initially, simply because a renowned and trusted film critic enjoys a particular movie doesn’t automatically mean others must feel the same way. Secondly, Ebert’s disliking one film doesn’t diminish his insights about other films. In essence, film critics, just like everyone else, have their own preferences, biases, and viewpoints.

If you want to develop your personal perspective about the movie titled “Crash“, here are some platforms where you can watch it without charge: The CW’s website (via this link), Plex, Fandango at Home, or The Roku Channel. Enjoy!

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2025-03-01 17:03