By Iain Sinclair
During this publication, which incorporates a new interview with Ballard who wrote the publication on which the movie was once dependent, Sinclair explores the temporal loop which connects movie and novel, and asks questions similar to to what quantity is Crash a premonition of a few of the extra outstanding media occasions of modern occasions. within the BFI smooth CLASSICS sequence.
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Extra info for Crash (BFI Modern Classics)
Where is everyone? They've all gone away,' Ballard says to Catherine, shortly before he forces her off the road. Deborah Unger has the presence of a computer-generated simulacrum of a star from the great days of the studios. Afilm noir face, like Gene Tierney stepping in from the rain, back from the dead, in 60 I SFI MODERN CLASSICS Preminger's Laura. Or Jane Greer in Jacques Tourneur's Out 0/ the Past. Bacall or Veronica Lake. Actresses who do the hair and the voice. Actresses whose iconic appearance predisposes them to a fixed set of narrative possibilities.
Injured, but not yet killed, Catherine lies on the grass verge, where she is penetrated from behind by her husband. 'Maybe the next one, darling .... ' The rapprochement, the (near) rebirth of emotion between this damaged golden couple, is Cronenberg's crane shot conclusion. The novel, classically looped in structure, brings James and Catherine Ballard together in the car in which Vaughan died ('a small spurt of semen after a short throe'). Ballard wanders among the wrecks. 'Reaching through the fractured windshields and passenger windows around me, I marked my semen on the oily instrument panels and binacles, touching these wound areas at their most deformed points ....
I think of the absurd crashes of neurasthenic housewives returning from their VD clinics, hitting parked cars in suburban high streets. I think of the crashes of excited schizophrenics colliding head-on into stalled laundry vans in one-way streets; of manic-depressives crushed while making pointless U-turns on motorway access roads; of luckless paranoids driving at full speed into the brick walls at the ends of known culs-de-sac; of sadistic charge nurses decapitated in inverted crashes on complex interchanges; of lesbian supermarket manageresses burning to death in the collapsed frames of their midget cars before the stoical eyes of middle-aged firemen; of autistic children crushed in rear-end collisions, their eyes less wounded in death; of buses filled with mental defectives drowning together stoically in roadside industrial canals.