In this article, the author talks about a critically acclaimed movie "Crash" and what it reveals pedagogically about the paradoxical legacies of the grand experiment in radical democracy. Written and directed by Paul Haggis, "Crash" inundates the viewer with a barrage of the most condescending racial and ethnic insults, which peak curiously toward several comic moments. Moreover, the movie exposes a popular audience to the tacit but critical nexus between migration and immigration narratives, the historical clash between native-born and foreign-born peoples of color for geographical territory as well as the socially constructed territories of identities. For all of the accolades the movie received--for its originality, penchant for satire, and trenchant social commentary--there remains much to criticize as well, including plot contrivances and witty dialogue that quickly wanes to redundant one-liners. More significantly, several reviews have sought to associate the film with or dissociate it from the civil rights movement. In teaching courses on civil rights literatures and rhetorics, the author uses the film to explore the complicated interpersonal, social, and political legacies of the movement. Here, the author shares some snapshot observations he has after viewing the film.