Out of sight, out of mind? (Traffic (DVD))

Member Name: TJ-Mackey

Product:	Traffic (DVD)
Date:	11/06/02 (86 review reads)
Rating:

Advantages: Direction, writing, casting, acting, cinematography

Disadvantages: Downbeat, unflinching, can be depressing (but at least it's honest)

There are some who argue the so-called 'war on drugs' can never be won. In Steven Soderbergh's superior 'Traffic', it can be seen that minor victories are achievable, but at what cost?

The cocaine industry is worth billions of dollars each year. With inadequate laws and widespread corruption, the trafficking of the drug from Mexico to the United States is surprisingly easy. After repeated failures, an independent 'drugs tsar' is appointed to improve the country's ability to combat the illegal drug trade. Whilst still finding his feet, Robert Wakefield (Michael Douglas) devises a three-pronged strategy focussing on rehabilitation, education and policing. However, the magnitude and difficulties of the problem are only just becoming apparent to him. Everyone in Washington is more than willing to offer their support, but when push comes to shove, ideas and solutions are far from forthcoming. And is there more to his daughter Caroline's behaviour than he realises?

That isn't to say the DEA is entirely without success. In San Diego, a mid-level distributor (Miguel Ferrer) is arrested and coerced into giving evidence against his employer - a supposedly legitimate businessman with a wife and child who are unaware of his illegal activities. His capture brings its own problems, as the wife, Helena (Catherine Zeta-Jones), must fight to keep the creditors away whilst protecting her family from the ruthless drug barons looking to recoup their losses.

We also follow Tijuana police officers Javier and Manolo as they tackle two warring cartels amidst widespread corruption in their own government. This is perhaps the most interesting story, as Javier (Benicio Del Toro) struggles to uphold the ideals of the law when faced with morally ambiguous opportunities from both a Mexican colonel and two DEA agents. It's this narrative strand that best underlines one of the central themes of 'Traffic'; that very few
parts of society are untouched by the effects of the drug industry, and despite appearances, the people involved can rarely be categorised as simply 'good' or 'bad'.

Unlike other ensemble movies, the narratives only overlap directly on a few occasions; instead the film is held together by a thematic structure that attempts to show the completely pervasive nature of the drug supply chain. At nearly every level of society, from the prosperous Indian Hill area of Cincinnati to the streets of Tijuana, the intrusion of the drug industry can be seen in a number of different ways.

Acting as his own cinematographer, Soderbergh employs a unique visual style to portray each of the plot threads - the harsh sepia tones of Tijuana contrasting strongly with the blue-washed hues of Washington and the bright Californian technicolor. A lot of the footage is shot using hand-held cameras, and overall this is very successful in giving the film the added feel of a documentary. Soderbergh's usual directorial techniques are also prevalent; especially the jump cut handling of dialogue that was so effective in 'Out of Sight' and 'The Limey'.

However, as good a job as Soderbergh does, he couldn't have done it alone, and the casting for the film is almost flawless. There are well over a hundred speaking parts in all, including a dozen or so central characters across the three stories. The acting is, on the whole, excellent, and although Benicio Del Toro took all the plaudits, in truth most of the primary players are just as impressive. Don Cheadle plays a determined DEA agent with just the right amount of humour; young Erika Christensen is entirely believable as Caroline descends towards addiction; and Catherine Zeta-Jones is surprisingly effective as the rich wife who must resort to desperate measures.

'Traffic' clearly focuses on a massive issue affecting today's society. But instead of taking the moral
high-ground, or preaching to the audience, writer Stephen Gaghan sensibly takes a step back and shows it how it is, allowing us to draw our own conclusions. There aren't any easy solutions to the drug problem; and indeed, if there are answers they must surely rely on a long-term strategy that addresses the biggest reason for the industry's power - the massive demand. While that is there, nothing can be done to stop the supply, and any attempts to do so are, as one character in the film observes, meaningless. There certainly is optimism in the haunting final scene of the movie, but with just one of the stories having any real resolution, some viewers may find it entirely unsatisfying.

Honest and unflinching, 'Traffic' pulls no punches in showing just how difficult it is to stop the illegal trade in drugs. Because of this, it isn't an easy film to watch, but watch it you should, as it fascinates in a thought-provoking and totally engaging manner. This is Soderbergh's best film to date.

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