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something very strange is going on in the minds of the
characters. Vaughan is clearly mad.”
Chris Auty thinks that the British find the problem
problematic because the Protestant world has no
surrealist tradition within which to place or make
sense of it. “Poland, Argentina – these are deeply
religious catholic countries. They have no problem
at all with Crash. They think of it alongside Belle de
Jour, something like a Bunuel movie, which is how
we think of it. Personally, I see it as a ghost story …
it is as though the film’s protagonist James has died
and become a ghost and then tries to become human
BUY J.G. Ballard books online from and
again. Maybe I sound mad but I found the ending
immensely touching and romantic and full of hope
in a dehumanised world.”
Ballard is keen to make a comparison of Crash with
Alfred Hitchcock’s groundbreaking Psycho: “I think
of Crash as the first film of the next century, if you
like. I think that the very influential role of Psycho
since 1962 will apply to Crash … Paul Schrader
[scriptwriter of Taxi Driver] said ‘Wonderful film – if
only I’d been so honest’, and I think it will impel a
new frankness and honesty that will reveal itself over
the next few years.” �
034
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