Has the same fetishistic, focused, intense repetition as the novel. Spader's Ballard stumbles upon a perverse subculture that subsumes and ultimately comes to define his sexuality. Cronenberg comprehends the cold, scaly, sexual inquiry that Ballard is engaged in. A cinematic provacateur with a clinical eye for detail takes on a writer who is part fantasist, part prophet. Pleasure, pain and sexualized machine merge.
Déjà le roman d'anticipation de J.G. Ballard irradiait de tous ses mots et ses douleurs cette expérience ultime de la jouissance extatique et funèbre avec un brio certain et une rare conviction. David Cronenberg la prolonge et la complémentarise visuellement, avec une feutrée et luisante efficacité. www.cinefiches.com
According to André Bazin and Jacques Rivette, there are two subjects in cinema that should only be approached in fear and shivering, in which its representation is automatically obscene: sex, and death. In Crash, David Cronenberg superimposes the beautiful and the macabre, pushing both of them into their tragic climax. It is his most disturbing film - which says a lot - but also his best directed.
A JG Ballard (that post-modern provacateur) novel that is almost 'unadaptable'. As an exploration into monomania that escalates towards sexual deviances, it is quite the disturbing literary and (thanks to this Cronenberg adaptation) spectating experience. The core of the novel's dystopia (an allegory of the perversity of capitalism) remains the book's and film's beating heart.
Violent emissions. Just as J.G. Ballard located the inherent eroticism in the bodies of mangled autos, here in his own medium director David Cronenberg tracks the inherent cinematic nature of car crashes. It's debatable whether a film adaptation could ever truly capture the sense of nocturnal dystopia that permeates every page of Ballard's novel, but there's no questioning Cronenberg's fealty to his source material.