Traffik

It is hard to put the devastating beauty of Traffik to words, partly because I am still grasping to comprehend it myself, several hours after my second viewing. First, it must be said that Traffik contains some of the most incomparably and unforgettably haunting scenes I have seen in a film or television production. The acting is excellent, particularly that of Bill Paterson as a British minister grappling with his heroin-addicted daughter and an aid deal to Pakistan that hinges on drug issues. Another plot line describes these drug issues at a ground level in Pakistan, and revolves around a struggling opium poppy farmer and his interaction with a successful heroin smuggler. The third main storyline involves the prosecution of a Hamburg drug importer, and the conflicting efforts of his wife and two German detectives while he is under trial. It is a profound accomplishment that the interaction between these stories feels natural, transcending the forced plot entanglement often found in Hollywood movies. It is an even greater accomplishment that a work spread over three countries and half a dozen main characters can be so focused and enthralling, without having to oversimplify. It is devastating--bleak and brutal but never apathetic. In short, Traffik is a rare work of film that handles challenging subjects with unmatched compassion and clarity.

"Traffik 1989" is an Emmy award winning six part miniseries out of the UK which was the inspiration for the Oscar winning "Traffic 2000". The five hour film breaks down the opium/heroine trade for the viewer from the handcasting of poppy seeds in an Afghanistan field to the "head rush" of a mainlining junkie in a flat in England. Not only does "Traffik" offer entertainment value through interleaved dramatic stories it also provides an overview of the international drug trade at all levels answering the who, where, how, and why questions of the age old and unstoppable narcotic supply/demand machine. Synergistically entertaining and educational, "Traffik" will prove to be time well spent for teens and up. (A)

I can only agree with many observers that Traffik is one of the most memorable dramas ever made for television. I saw Traffik when it was on TV, and I have just watched it again. I am particularly moved by the haunting original music of Tim Souster, and especially by the dolorous strains of Dmitri Shostakovich's Chamber Symphony in C minor ( the music over the credits and in parts of the film). The music intensifies the desperation of the characters as they pursue their sad fate. The music is powerfully emotional. This arrangement combines two of the movements from the symphony, but I recommend listening to the symphony per se.

I agree with the main summary of this mini-series ! The characters are not just all bad or all good (like many American movies). I enjoyed it immensely and the time just flew by so that instead of being a 6-hour series, it was engrossing enough to appear to be 2 hours' long. All the characters were finely drawn, and not just cardboard characters. Congratulations for a mini-series that still stands up in 2001! Personally. I found it better than the movie because it devoted more time to "flesh out" the characters !

TRAFFIK, though released 11 years before the over-rated Hollywood remake, is still far more insightful and relevant about the world of drug traffic. This despite the fact that the remake is heralded as a breakthrough in how people view the drug war. I saw the remake first, and after seeing this miniseries by distaste for the latter film grew considerably. It isn't just that it's twice as long and has that much more time to cover the issue, although that obviously helps. The dialogue is more efficient and powerful (compare Jack Lithgow's final speech to Douglas' drippy final speech). The scope is also far greater (the remake chooses to replace the story about the Pakistani farmer with the story of the Mexican cop... so we get more cops). The films handling of the Pakistani characters is affective and moving and doesn't have the naive gimicks of the remake's handling of the Mexican characters (the cinematography, for example). The film even had the guts to point out that Pakistani heroin traders get money from the American government to fight Russians (although I admit it's far less risky for a British production to make that case than it would be for a Hollywood production).