Bloodstains- Speed Kills

Cronenberg’s adaptation of Crash was an ill-conceived notion to begin with. When first reading Crash, I was, hyper stimulated by the visceral imagery and demented qualities of the books narration. It was initially an experience of science fiction that Baudriallard characterizes as “hyper real”. However, the systematic nature of Ballard’s descriptions seems to produce two affects. What makes the story real at first is the hyper physical descriptions of things we are all accustomed to, but are not usually paired so intimately. However, as the story continues what was once jaw dropping and unbelievable takes on a more real quality, a more human quality, a systematicity so to speak. That is, the fetish burgeons into a world of its own with recurring words and a distinct style that serves to almost create a vague logic behind the new sexuality. More succinctly I think I mean to convey that similar to A Clockwork Orange, the reader adapts to a hyper stimulated world by acquiescing a distinct jargon and thus predictable pattern for how events will be scrutinized by the narrator. A new way of knowing the world, whether through NADSAT, or dashboard panels and semen is bestowed onto the reader. Unlike A Clockwork Orange, the jargon implemented desensitizes, in my opinion, the reader to this fetish. Therefore, what was initially a dark and strange fetish becomes almost comical as we learn what to expect and how reactions will play out. That is not say that it loses its potency as a piece of satire, but what is being satirized becomes more evident. I think the problem with doing a film about the book is that without the narration to guide us into this new rationale, we inevitably experience a world far different from the one we experienced in the book. More specifically, Cronenberg’s world is too dark and less abstracted because of its medium from our own. Consequently, the film’s tone comes across as a mellow dramatic and ungrounded in its exploration because it offers no explanation of the inner monologue guiding this new fascination. Had I been in charge of the film I would have set in the 1950’s, somewhere where kids race cars along desolate stretches of land in southern California. It would take on the innocent demeanor so easily associated with the 1950’s and include a cast of characters and soundtrack reminiscent of American Graffiti. In doing so, a seemingly dark, hyper-sexual and masochistic love of new technology would be underscored and brought into its comic actuality by a benevolent spirit of youth and hope so readily associated with era. Plus the cars would be way more fun to play with.


In conclusion: I offer the song which underscored my own reading of the book, (with a 1950/60’s surf rock element of its own), Bloodstains by Agent Orange.






they can make things worse for me
sometimes i'd rather die
they can tell me lots of things
but i can't see eye to eye
well, i know they know the way i think
i know they always will
but someday i'm gonna change my mind
sometimes i'd rather kill

bloodstains - speed kills
fast cars - cheap thrills
rich girls - fine wine
i've lost my sense - i've lost control - i've lost my mind

things seem so much different now
the scene has died away
i haven't got a steady job
and i've got no place to stay
well, it's a futuristic modern world
but things aren't what they seem
someday you'd better wake up
from this stupid fantasy