Love in the dying moments of the twentieth century.

Since a road accident left him with serious facial and bodily scarring, a former 'TV scientist' has become obsessed by the marriage of motor car technology with what he sees as the `raw sexuality' of car-crash victims. The scientist, along with a crash victim he has recently befriended, sets about performing a series of sexual acts in a variety of motor vehicles, either with other crash victims or with prostitutes who they contort into the shape of trapped-corpses. Ultimately, the scientist craves a suicidal union of blood, semen and engine coolant, a union with which he becomes dangerously obsessed. A very controvercial film. I can remember having discussions about it in englush and art class when it was coming out on it's morality.

Directed by:
David Cronenberg

Written By:

David Cronenberg (Screenplay), J.G. Ballard (novel)

Cast:

James Spader .... James Ballard
Holly Hunter .... Helen Remington
Elias Koteas .... Vaughan
Deborah Unger .... Catherine Ballard
Rosanna Arquette .... Gabrielle
Peter MacNeill .... Colin Seagrave
Yolande Julian .... Airport Hooker
Cheryl Swarts .... Vera Seagrave
Judah Katz .... Salesman
Nicky Guadagni .... Tattooist
Ronn Sarosiak .... A.D.
Boyd Banks .... Grip
Markus Parilo .... Man In Hanger
Alice Poon .... Camera girl
John Stoneham Jr. .... Trask

Cronenberg On CRASH:

"When I was a kid, the guy who had the car had sexual power. The kid in my class who actually had a Pontiac convertible got to take girls on dates out in the country. We all knew that meant sex. He was very sexually attractive and potent because of his car. It was very straightforward--no mystery involved. There's a whole generation of Americans spawned in the back of '55 Fords. Cars always represented sexual freedom for those who could afford them. It's a very well established connection."

"The positions, the dialogue and the juxtaposition of the sex scenes deliver everything--thematic development, character development, narrative development. For example, the James Spader and Holly Hunter characters are crash victims who find themselves in a parking garage at the airport suddenly having very passionate, orgasmic sex even though they're complete strangers. The very next scene, Spader and his wife are trying to reproduce that experience, but it's not orgasmic. She has not had her crash. He doesn't have that connection with her. Part of the movie then goes on to find her crash for her, so they can fuse together. All of the sex scenes have something like that in them. "

Source: E! Online's Q & A with David Cronenberg

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