Hey folks, Harry here with R.P. McMurphy's wondrous examination of that Soderbergh film that just seems to be making the rounds on test screens near you. And I am yet again SHOCKED to see another very very positive review... I mean, afterall... this is a Soderbergh film... and we all know how he makes intelligent thoughtful films... and us being thoughtless geeks that live only for Sci-Fi and Horror... well we should hate this stuff right? WRONG!!! heheheh, Soderbergh's our man... besides.. he's working up a sci-fi film... It's happening man, it's happening... Here's the other insane man....
Hey Harry, R.P. McMurphy here, with a review of Steven Soderbergh's TRAFFIC. To say I was privileged to gain access to this screening is an understatement; TRAFFIC happens to be the film this particular nutcase was anticipating more than any other this promising fall season. Soderbergh is one of the most prolific, naturally gifted filmmakers working today, weaving distinct themes of revenge and female empowerment, as well as a breathtaking visual and temporal style, throughout everything from a comedic noir (OUT OF SIGHT) to a crowd-pleasing social-problem film (ERIN BROCKOVICH). Add to that my admitted predilection for Altmanesque interweaving-plotline narrative structures (if you didn't think MAGNOLIA was the best film of last year, email me...I'll straigthen ya out); my hankering to see Don Cheadle and Luis Guzman together again; and, finally, the fact that this film was going to tackle such a pertinent issue head-on...well...let's just say if this didn't turn out to be the best thing since sliced bread, I'd riot.
So the fact that it didn't quite meet my expectations was no surprise, but make no mistake, this is still one of the best films of the year. Evidence that Mr. S. is still working at the top of his game, TRAFFIC is a courageous, richly layered, engrossing, and mature look at the personal costs of the drug war, the lives which are shattered, the family members left stranded by a loved one's addiction. On a much deeper level, though, the film is about making a certain sacrifice regardless of if there's any real positive consequences (from the addict who just can't quit, to the DEA agent who's progress is hindered by the very government he serves, each person gives him or herself to something which may look futile to others). First, let me give an overview of these characters and performances:
Michael Douglas (Robert)-I was a bit concerned in the Judge's early scenes, since Douglas is initially a bit stiff (the pressure he feels at the D.C. function in which everyone has an opinion on what he should do as newly appointed drug czar...it just didn't seem palpable). Also, some of the early scenes in which he is "shown the ropes" at different national borders and state headquarters seemed a tad dry and emotionless (albeit still well filmed...when the border patrol takes apart a car at the border, it's a bit of minutiae which Soderbergh fascinatingly and realistically shoots). However, the second half contains some of Douglas' best work. As Robert's family begins to fall apart, his desperation is moving, the way he throws himself into fixing things. What he does during the White House speech...marvelous. His perfomance only pales when compared to Ian Holm's masterful work in THE SWEET HEREAFTER, in a similar role of a dad torn apart by his daughter's addiction. But comparing such matters isn't all that fair.
Catherine Zeta-Jones (Helena)-I love it when Soderbergh takes an actor I had doubts about, and then gives him or her an opportunity to let talent bloom. I HATED Roberts before BROCKOVICH, but now...she's on her way to the Oscar podium. I also love how in his films, he takes female sexuality and then subverts it, making the audience feel guilty of seeing these women as sexual objects. From Andie MacDowell's inability to orgasm in sex, lies, and videotape, to Roberts' fiery independence in BROCKOVICH, this is a fertile theme for him. Take Helena's evolution in TRAFFIC...she starts out as, "I don't know what to do without a man around," and then, well....I won't give it away. But with Zeta-Jones, this is proof she can really act; we see the conflict within Helena, and how she makes this decision for her family, which may seem rather outrageous.
Benicio del Toro (Javier)- He also hits a career best in this film, with a subtle, masterful turn as a man whose job and relationship with his partner take drastic turns. He handles things like a pro, but the drug war becomes too much for him, and there's a great scene where he explodes in the middle of a traffic jam.
Erika Christensen- As Douglas' daughter (I forget some character names), she is a revelation, and she deserves a Supporting Actress nomination for the raw, heartbreaking work she does here.
Cheadle & the Guz- What a team! Their camaraderie is as juicy and funny as expected, giving the film some comic bite. There's a dark turn which is wonderful...but I really wanted much, much more of Cheadle after this certain turn.
Dennis Quaid- One bad apple can't spoil the bunch. He's hardly on at all anyway, and his character is the most undernourished. The pivotal scene between him and Zeta-Jones just ended too quick for me.
Topher Grace- His monologue about how racial strife enters into the drug trade is phenomenal! He can do more than That '70's Show! Yay!
Soderbergh is great at showcasing quiet moments for each of his characters. Since they are each isolated by their individual quests, he has marvelous shots of them dwarfed by their settings, and moments of frailty (i.e. del Toro's aforementioned explosion; Christensen showering in her clothes after getting high) which are painfully intimate. He is also his own D.P. here, and Hicks' description of the look of the film as BROCKOVICH meets THREE KINGS meets INSIDER is dead-on. Like in BROCKOVICH, bright whites and tans communicate peace or goodness (i.e. signalling Javier's inherent nobility) while harsh blues signify moments of tension or unease (i.e. Grace's character exposing Christensen to crack). And there's a scene of psychedelia, using dissolves, which is beautiful. The use of quiet and stillness during an explosion...I'll stop now, lest I give too much away.
Stephen Gaghan's script is brutally honest and ingeniously structured. He's brave enough to show the downward spiral of drugs, yet adult enough to give a subtle message of hope.
The only flaws are, as I mentioned, the lack of emotion in some bureaucratic scenes, and the brevity of certain scenes. In fact, the end, although poignant, is a bit abrupt. Also, LIMEY was more inventive filmmaking, and BROCKOVICH had a fuller sense of human interaction (although since TRAFFIC is about isolation, it's unfair to hold this against it really). But, please note that I'm not quite one to tell Soderbergh to change anything....he's smarter than me. (the whole lobotomy thing doesn't help my situation) This is the third best of the year for me, behind BROCKOVICH and Curtis Hanson's WONDER BOYS (caveat emptor: I don't see ALMOST FAMOUS until tomorrow, and the only Toronto entry I've seen is the overly syrupy THE DISH). Proving that Soderbergh and Michael Douglas are very intelligent...like any of us needed to be reminded.
Until next time,
P.S. It was great meeting you at the SD Comic Con, Harry!
