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It didn’t take me long to size up this movie when I saw the multiracial nature of the cast and read the following synopsis of the plot:

“Several characters of different racial backgrounds collide in one incident. The different stereotypes society has created for those backgrounds affect their judgment, beliefs and actions, This in turn causes problems for each of them.�

In their acceptance speeches, Haggis and other members of his crew were gushing about “tolerance� and “breaking down stereotypes� and similar jew-inspired egalitarian bullshit, so I was definitely not looking forward to viewing this film.

I nevertheless felt duty bound to review this flick, so I reluctantly slipped the disk into my DVD player, fully expecting the worst. But to my surprise, it was not nearly as dreadful as I had anticipated, and in fact had several redeeming virtues. It is a well-known fact that Hymiewood is often out of touch with White America, so sometimes it inadvertently puts out a message that is diametrically opposite of the one intended. The 1970s movie “Cabaret� is the perfect example of this phenomenon. Set in pre-1933 Berlin, it was obviously conceived as an anti-Nazi film, and yet the overall impression it left on me was of the sordid degeneracy of Weimar Germany. It was in fact one of the best propaganda pieces for National Socialism, far more effective than anything Goebbels ever made.

So it is with “Crash.� It inadvertently displays the degeneracy of multicultural Los Angeles and the inherent conflict caused by the forcing together of so many diverse races and cultures. There are at least two characters who are presented as overt White “racists� in this movie, one a policeman (Matt Dillon) and the other the wife of the District Attorney (Sandra Bullock). Actually, far from being “racist,� they make a lot of sense in some of the observations they make about affirmative action and the real world. For instance, anyone who has ever had to deal over the phone with a black “customer service representative� will appreciate Dillon’s exasperation in the one scene where he is trying to learn more about his ailing father’s medical condition. Up against an ebonic brick wall, he asks to speak with her supervisor. “Ah’s my own supervisor,� she exclaims, whereupon Dillon asks for her name. When she says “Shaniqua,� he simply says, “Shaniqua? I should have known!� The fat nigger bitch slams down the phone, but the scene is hilarious.

Yes, there are too many “professional� negro authority figures and the two carjacking street niggers are portrayed sympathetically. One of them, in fact, is the son of the police detective, illustrating that even “good� niggers usually have (no pun intended) black sheep in their families. Other prominent characters are Mexican, Chinese and Iraqi. Guess which one is the least sympathetic? The Iraqi does indeed come across as a psychopath, but apparently it’s really not his fault; just his reaction to society’s anti-Arab stereotypes. “What the fuck,� I ask, “is he doing in this country if he is so bitter?� Why, in fact did we let him and his brood in in the first place?

The idea behind “Crash� is certainly not a new one. It is the concept of taking a significant event and tracing the lives of those involved and how they all happened to come together at this one particular time. A similar theme was done in “Grand Canyon� a few years ago, and as I recall, it was a much better movie. This latest effort, however, does have some stories that will hold your interest and it is really not too preachy or heavy-handed in dealing with racial issues. In fact, the “racist� cop turns out to be a lifesaving hero, whereas the “liberal� anti-racist on the force ends up shooting an unarmed black man he perceived as threatening. Definitely some food for thought in this movie, albeit not the kind of thoughts Mr. Haggis had in mind.

Stereotypes, as I’ve said many times before, more often than not contain at least a germ of truth. As generalizations, no of course they’re not always 100% accurate 100% of the time, but they usually do embody a deep societal wisdom learned through long, hard experience. If the producers of “Crash� were attempting, as they have claimed, to tear down our stereotypes, they have failed miserably.

One final note: there was one major ethnic group not represented. No, not one mention that I can recall, of jews in the entire film. Surely there exist more “stereotypes� of jews than of just about any other racial group, yet evidently this was a subject considered too hot to handle. I’ll let you draw your own conclusions about this glaring omission.

RICH BROOKS