Traffic (2000)

3 out of 4

Starring: Michael Douglas, Benicio Del Toro, Catherine Zeta-Jones, Don Cheadle, Luis Guzman, Dennis Quaid, Amy Irving, Erika Christensen, Miguel Ferrer

Director: Steven Soderbergh

Time: 147 mins

The release of Traffic in Australia means that, together with Gladiator, Erin Brockovich, Chocolat, and Crouching Tiger, Hidden Dragon, all five movies up for Best Picture at this year's Academy Awards presentation will have been shown here before the Awards actually take place. This is a rare luxury, for previous years may have seen, if we were lucky, four Oscar contenders before the awards were given out (OK - sarcasm mode: OFF - but the fact remains that many Oscar-nominated films, not necessarily Best Picture contenders but perhaps up for a major award like Best Actor or Actress, often still haven't been released here before Oscar night). Looking back at the four films I have seen, it's almost ironic that I rate all of them 3/4, for it is indicative of a fairly average year in cinemas generally. The two that stand out from this list are the Soderbergh films (Erin Brockovich and Traffic), which, again ironically, may work against the director when the votes are tallied. Traffic is a stylish and effective look at drug trafficking and the efforts by law enforcement agencies in the US and Mexico to catch those responsible. Soderbergh skilfully weaves together several different story strands, but the episodic structure never gives us a chance to truly bond with the characters. It also seems like the film wants to be a hard-hitting, realistic expose on the world of drugs, but then pulls back rather than going for the jugular (so to speak) when the opportunity arises. It's a good film, but just falls short of great.

The drug trade is flourishing near the US-Mexico border, between the cities of San Diego, California and Tijuana in Mexico. FBI agents Montel Gordon (Don Cheadle) and Ray Castro (Luis Guzman) are on an undercover operation that nets Eduardo Ruiz (Miguel Ferrer), a drug runner for the powerful Obregon brothers cartel in Tijuana. Following a tip from Ruiz, San Diego businessman Carlos Ayala (Steven Bauer) is arrested for drug smuggling, shocking his wife Helen (Catherine Zeta-Jones) and putting their son in danger. On the other side of the nation, newly appointed government official Robert Wakefield (Michael Douglas) is fighting drugs on two fronts: the public side, where he looks for ways to stem the flow of narcotics into the US; and also at home, where his daughter is seduced by the allure of getting "high". Meanwhile, south of the border, local policeman Javier Rodriguez Rodriguez (Benicio Del Toro) is drawn into a game of cat and mouse between rival drug cartels and General Salazar (Tomas Milian), a member of the Mexican army who is intent on driving out the Obregon brothers from Tijuana. Though initially along for the ride, Javier gradually realises it's a game where there will be few winners.

The film is shot in a harsh, grainy style, where various colour filters have been applied to achieve a certain look. This is especially evident in the scenes in Mexico, where there's a noticeable yellow tint that makes the surroundings look hot and desolate. The scenes in the US are more "colourful", but the palette is still quite subdued. Several scenes of violence also incorporate that jittery, handheld, "you are there" feel that films like Saving Private Ryan used to such shattering effect. The film does frequently cut between the three major story threads, which paces the film well but doesn't give us time to fully associate with the characters. Indeed, while the full running time is close to two-and-a-half hours, I never felt it was too long or dragging in certain spots. I was hoping that the characters and story lines would converge at some point during the second half of the film, which would give some rhyme and reason for the earlier disparate storytelling, but this never eventuates. As it is, the film feels like a documentary in some ways, though it is a testament to the director and the actors that there is enough intimacy to keep your attention focused. I do feel that Soderbergh (and writer Stephen Gaghan) stop short of hitting you in the gut with the disastrous effects of drugs, however. There is frequent drug abuse in the film, but though the film's opening scenes promise something more searing, and later developments provide the opportunity, Soderbergh never goes for the extreme. There is one overdose, but that's it. Traffic may not be intended to be an overly violent film, but I feel an important message could have been made here, much like the message that "war is hell" was conveyed with the brutal Saving Private Ryan.

Soderbergh has assembled a fine ensemble cast for Traffic. The major star is Douglas, in another of his patented roles where he gets to wear a suit (see Wall Street, The Game, The American President, Disclosure, etc.). Though he never really stands out, he certainly looks the part in the nicely tailored suits, and he displays a degree of desperation when his daughter's plight grows worse. His real-life wife, Zeta-Jones, is fine as the unknowing spouse of a drug smuggler who also gets drawn into the game. The measures she would resort to to protect her child may be extreme, but a mother who thinks her child is in danger can often perform extraordinary tasks. The excellent Don Cheadle (Boogie Nights, The Family Man) is again very good as the driven FBI agent out to nail the kingpins in the San Diego operation. In particular, his buddy-buddy rapport with partner Guzman is warmly developed and adds a welcome touch of humour in an otherwise bleak and serious film. Benicio Del Toro, who first came to prominence as one of the evil henchmen in the James Bond film Licence To Kill, vies with Cheadle for top acting honours. His perpetually sleepy, soulful eyes imbue him with a tortured look at times, which is handy during some of the film's later scenes. Mention must be made of Erika Christensen, who plays Douglas' drug-addicted daughter. There are also smaller roles for Dennis Quaid (as a friend of Zeta Jones' character), Soderbergh alumnus Albert Finney (from Erin Brockovich), and cameos from James Brolin and Benjamin Bratt.

Traffic is a fine film that just falls short of its potential. Brought to life by a very good group of actors, the film is long but doesn't ever feel like it's overstaying its welcome. Though not a great film like last year's Best Picture Oscar winner American Beauty, Traffic has enough style and gritty realism to stand out from the rest of the Oscar-hunting pack. That director Soderbergh's Erin Brockovich is also nominated for Best Picture is a pity, for it means that both films may cancel each other out. But that's the way the Academy works, I suppose.

(c) Joe Wong (8 March 2001)