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News (Media Awareness Project) - US NY: Review: 'traffic': Teeming Mural Of A War Fought And Lost
Title:US NY: Review: 'traffic': Teeming Mural Of A War Fought And Lost
Published On:2000-12-27
Source:New York Times (NY)
Fetched On:2008-09-02 07:57:23
'TRAFFIC': TEEMING MURAL OF A WAR FOUGHT AND LOST

Steven Soderbergh's great, despairing squall of a film, "Traffic,"
may be the first Hollywood movie since Robert Altman's "Nashville" to
infuse epic cinematic form with jittery new rhythms and a fresh,
acid- washed palette.

The agitated pulse of the hand-held camerawork (by the director
working under a pseudonym) that roughly elbows its way into the
center of the action is perfectly suited to the film's hard-boiled
subject, America's losing war on drugs. The color scheme sandwiches a
few lush patches between sequences filmed in two hues--an icy blue
and a sun-baked yellow-orange--that are as visually discordant as the
forces doing battle.

Where Mr. Altman's masterpiece portrayed American culture as a
jostling, twangy carnival of honky-tonk dreams, "Traffic" is a
sprawling multicultural jazz symphony of clashing voices sounding
variations of the same nagging discontent. The performances (in
English and Spanish), by an ensemble from which not a false note
issues, have the clarity and force of pithy instrumental solos
insistently piercing through a dense cacophony.

The characters run the social gamut, from affluent United States
government officials and wealthy drug lords on both sides of the
United States border with Mexico and their fat-cat lawyers, to the
foot soldiers doggedly toiling in a never-ending drug war.

The most indelible performances belong to Benicio Del Toro as a
burly, eagle-eyed Mexican state policeman of pluck and
resourcefulness who has the street smarts to wriggle out of almost
any squeeze; Michael Douglas, as a conservative Ohio Supreme Court
Justice who is appointed the country's new drug czar, and Erika
Christensen, as his sullen drug-addicted teenage daughter. Catherine
Zeta-Jones is also riveting as a wealthy, ruthless, Southern
California matron who is unaware that her husband is a high-level
drug smuggler until he is dragged out of their house by federal
agents.

The movie, which jumps around from Tijuana to Cincinnati to
Washington to San Diego, from a posh Ohio suburb to the inner city to
the Mexican desert to the White House itself, offers a coolly
scathing overview of the multibillion-dollar drug trade and the
largely futile war being waged against it.

But as despairing as it is, "Traffic" is not cynical. It gives its
isolated heroes in the trenches their due. One of these is Javier
Rodriguez (Mr. Del Toro), a wily, good-hearted Mexican policeman who
conspires with the Drug Enforcement Administration to bring down his
own boss (Tomas Milian), a corrupt Mexican general who uses torture
to get his way. Other heroes include a pair of D.E.A. undercover
agents, Montel Gordon (Don Cheadle) and Ray Castro (Luis Guzman), who
spend half their lives in cramped vans engaged in surveillance.

"Traffic" is an updated, Americanized version of a 1989 British
television mini-series, "Traffik," that followed the drug trade from
Pakistan to Britain. From an ambiguous, paranoically-charged opening
desert sequence (reminiscent of the crop-dusting scene in "North by
Northwest"), in which Javier and his partner, Manolo (Jacob Vargas),
surrender a newly captured truckload of cocaine to the corrupt
general, to a late scene in which an American agent risks his life to
plant a bug in a dealer's mansion, "Traffic" is an utterly gripping,
edge-of-your-seat thriller. Or rather it is several interwoven
thrillers, each with its own tense rhythm and explosive payoff.

What these stories add up to is something grander and deeper than a
virtuosic adventure film.

"Traffic" is a tragic cinematic mural of a war being fought and lost.
That failure, the movie suggests, has a lot to do with greed and
economic inequity (third world drug cartels have endless financial
resources to fight back). But the ultimate culprit, the movie
implies, is human nature. Waging a war against drugs isn't just a
matter of combating corruption but of eradicating the basic human
desire to "take the edge off," as Mr. Douglas's character, Robert
Wakefield, says in defense of his nightly drink of Scotch.
"Otherwise, I'd be dying of boredom," he adds.

"Traffic" is no friend of the government. When Wakefield returns from
Washington, where he has been briefed by the president's chief of
staff (Albert Finney) and other major Beltway players in the war, he
describes the experience to his wife, Barbara (Amy Irving), and
daughter, Caroline (Ms. Christensen), as like being "in Calcutta,
surrounded by beggars wearing $1,500 suits who don't say `please' and
`thank you.' "

While Wakefield is exploring this new turf, Caroline is rapidly
succumbing to crack addiction under the tutelage of her cynical
boyfriend, Seth (Topher Grace), her classmate at the exclusive
Cincinnati Country Day School and as a scary a contemporary teenager
as you're likely find in a recent movie. A high achiever who is
sullen and angry beneath her preppy glass, Caroline quickly plummets
to the bottom. Early scenes of her stoned friends sprawled around a
fancy living room, drinking, sniffing cocaine and mumbling fuzzily
about their discontents offer a devastating vision of youthful
suburban ennui.

The movie does not shy away from portraying the pleasure of drugs,
and Caroline's initiation into free-base cocaine by Seth is a
voluptuous rush. Her head rolls back, and tears of joy trickle from
her eyes as Seth repeats in a soothing voice, "You see? You see?"
before making love to her. From that moment, Caroline is hooked, and
she becomes a glazed-eyed baby-faced demon whose precipitous fall
lands her in a seedy hotel under the thumb of the drug-dealing pimp
who introduced her to heroin. As Wakefield tries desperately to wrest
her from the gutter, this strand of the movie threatens to turn into
a Charles Bronson-like vigilante drama. But the acting is so powerful
that the scenes have documentary crediblity.

A parallel strain of the demonic runs through the story of Helena
Ayala (Ms. Zeta-Jones), whose comfortable world begins falling apart
the moment her drug-dealing husband, Carlos (Steven Bauer), is
arrested. Six months pregnant and the mother of a young son, she
finds herself a social outcast, her finances frozen, her son's life
threatened by Carlos's creditors. "I want my old life back," she
declares furiously to her husband over a prison telephone. Then, with
coldblooded determination, she sets about getting it back by any
means necessary.

Her key to getting it back lies in forestalling the testimony of
Eduardo Ruiz (Miguel Ferrer), a midlevel drug dealer busted by Montel
and Ray who is being held in protective custody as the key witness in
Carlos's trial. A harsh realist who knows his chances of survival
aren't great, Eduardo bitterly scoffs at his captors for "knowing the
futility of what you're doing and doing it anyway," and his words
resound through the movie. The film's most exciting scenes
demonstrate the efficiency of the drug cartels at penetrating the
most heavily guarded inner sanctum.

If "Traffic" illustrates how the underfunded, red-tape-bound good
guys are no match against the enemy's superior resources, what makes
the film more than a powerful thriller is its unflinching
contemplation of human frailty. From Helena's take-no-prisoners
schemes to stay rich, to a hired assassin tracked down in a gay bar
and seduced into a trap, to Carlos's two-faced lawyer (Dennis Quaid),
who is tempted to steal from his boss while he is behind bars, the
film understands the sheer, brutal force of human desire.

A theme that percolates throughout Stephen Gaghan's screenplay is a
reflection on addiction and dependence. From Wakefield's nightly
Scotch, to the two glasses of red wine Helena recommends to her
friends over lunch at a fancy La Jolla restaurant, to Ray's chain
smoking, to the druggy past of Wakefield's wife (was it
experimentation or something more?), "Traffic" poses unanswerable
questions about selfmedication, pleasure, dependency and addiction.
One character, who early in the movie invokes the slogan "In vino
veritas" while plying a paid assassin with red wine to coax
information out of him, later commits suicide by injecting heroin.

In the end, Wakefield, exhausted and demoralized after all he has
been through, delivers the White House address he's been instructed
to prepare in a weary, halfhearted voice, mumbling words like
"courage," "perseverance" and "new ideas" before announcing a new
"10- point plan." But as we've been shown, there are no new ideas.
Wakefield's speech ring hollow until the moment he pauses and wonders
out loud, How can you wage a war against your own family?

That family, "Traffic" implies, is not just his own drug-addicted
daughter but also a culture devoted to instant gratification and
quick-fix pain relief. The drugs, after all, don't flow out from the
United States into the third world, they flow in. For this is a
culture in which, at the end of the day, millions of people, just
like Wakefield, find themselves "dying of boredom."
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