Ein konservativer Richter wird vom Präsidenten ernannt, um Amerikas eskalierenden Krieg gegen Drogen anzuführen, nur um zu entdecken, dass seine jugendliche Tochter selbst cracksüchtig ist. ... Alles lesenEin konservativer Richter wird vom Präsidenten ernannt, um Amerikas eskalierenden Krieg gegen Drogen anzuführen, nur um zu entdecken, dass seine jugendliche Tochter selbst cracksüchtig ist. Zwei DEA-Agenten schützen einen Informanten. Die Frau eines inhaftierten Drogenbarons vers... Alles lesenEin konservativer Richter wird vom Präsidenten ernannt, um Amerikas eskalierenden Krieg gegen Drogen anzuführen, nur um zu entdecken, dass seine jugendliche Tochter selbst cracksüchtig ist. Zwei DEA-Agenten schützen einen Informanten. Die Frau eines inhaftierten Drogenbarons versucht, das Familienunternehmen weiterzuführen.
- Regie
- Drehbuch
- Hauptbesetzung
- 4 Oscars gewonnen
- 73 Gewinne & 86 Nominierungen insgesamt
- Salazar Soldier
- (as Jose Yenque)
- …
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Like an abstract expressionist master, Steven Soderbergh stands in the center of a canvas that stretches from Cincinnati to Tijuana. He mixes materials and splashes colors with the dash and power of a Jackson Pollock. His materials are skillful acting, lively editing, a dynamic music score, and an unflinching camera. (He did his own lensing, under a pseudonym). The artist's aim? To paint a picture of our country's drug problem.
Scripted by Stephen Gaghan, "Traffic" has its roots in a 1989 British television mini-series, "Traffik," which followed the drug trade from Pakistan to Britain. There are three loosely related stories, each with its own color coding--and as with Pollock, there is nothing random about where the paint splashes upon the canvas.
Blue hues bathe blue bloods in Cincinnati where an Ohio Supreme Court Justice (Michael Douglas) is flattered into taking a job as national drug czar, just as his bright young daughter (Erika Christensen) is seduced into addiction by her prep-school friends.
A rich golden-yellow surrounds San Diego where a comely couple (Catherine Zeta-Jones and Steven Bauer) occupy the upper links of the drug chain and spend ill-gotten cash on clothes, cars and country clubs. They are pursued by two undercover cops (Don Cheadle and Luis Guzman) who spend most of their screen time cooped up in a surveillance van.
In Mexico, a washed-out, burnished brown bespatters a desert of desperation as two Baja policemen (Benicio Del Toro and Jacob Vargas) pull off a major drug bust only to be themselves busted, by a sinister general (Tomas Milian) who notifies them that 'I will take over from here.' Each color signifies its own impenetrable culture, and when Douglas crosses into Mexico to meet his counterpart, we know (but he doesn't) that his fellow drug czar is really a drug lord.
The performances were exceptional, especially considering that no one was given star treatment. Much of the film was shot with existing light and Soderbergh kept the composition wide, letting the actors create their own space. Douglas was surprisingly believable as the would-be czar and bookends an Oscar-worthy year with his scruffy professor in the earlier "Wonder Boys." His real-life wife, Zeta-Jones (carrying their child), gave a quite credible performance as a society snob who turns ruthless when her status is threatened.
Other stand-outs include Christensen's drugged-out daughter, Del Toro's street smart Mexican cop and Cheadle's dedicated drug buster. In fact, there was not a weak performance in the bunch, including crucial cameos by veterans Peter Riegert and Albert Finney. Real people even play roles: Douglas's fictional drug czar confers with real-life senator Orrin Hatch, while actual customs officials relate their day-to-day drug enforcement dilemmas.
Each of the three stories ends with a glimmer of hope. But despite small battles being won, the film's verdict is that the larger war is plainly being lost. As if on cue, White House Director of Drug Policy, Barry McCaffrey, has resigned effective January 6, 2001. The real-life outgoing czar, a former general, has become a vocal supporter of increased funding for treatment programs.
Like Pollock, Soderbergh continues to stretch the boundaries of his art, as he did a dozen years ago with "sex, lies, and videotape," and more recently with the undervalued "The Limey." "Erin Brockovich" though fairly conventional by his standards, nevertheless completes a year any director would envy.
Rating: 3 1/2 stars out of 4
`Traffic' takes a look at the world of drugs through the stories and lives of different characters. Some are loosely connected to one another; some are not. There is the story of Javier Rodriguez (Benicio Del Toro), a Mexican policeman struggling to keep his distance from the corruption that seems to follow him everywhere; there is the story of Ray Castro (Luis Guzman) and Montel Gordon (Don Cheadle), two DEA agents trying to turn the low-level drug dealer Eduardo Ruiz (Miguel Ferrer) against his drug cartel boss; there's the story of Helena Ayala (Catherine Zeta-Jones), the unsuspecting wife of the drug cartel boss who suddenly learns who her husband really is and what he does for a living; and then there's the new head of the DEA, Robert Wakefield (Michael Douglas), a man so wrapped up in his mission to stop the war on drug, he fails to notice that his own daughter Caroline (Erika Christensen) is becoming addicted to crack. Much like in the real world, the events of each story directly or indirectly affect the events of the others, leaving all the characters to consider their roles in the drug culture . . . and what, if anything, they can do to change those roles.
In terms of story, `Traffic' is absolutely brilliant. I'm still amazed that the film could cover so many plotlines and dozens of characters so effortlessly. Each story -- whether it's Helena assuming the role of her drug-dealing husband, or Robert canceling DEA meetings so he can deal with his drug-addicted daughter -- is powerful and brutally honest. `Traffic' isn't afraid to look at tough or uncomfortable issues. `Traffic', somewhat surprisingly, never preaches, either -- while it's safe to say that the message of the film is essentially anti-drug, it never comes out and outright says that message. A lesser film would've had some grandiose speech imbedded somewhere in the film denouncing the use of drugs -- not `Traffic'. It's wise enough to let the viewer take what messages they want from the film, without ever preaching. (A minor quibble -- did Michael Douglas' character really have to be the new drug czar of the United States? The fact that he was the top law enforcement drug official in the U.S., and that his daughter was addicted to drug . . . well, it seemed a little too far-fetched, and a little too movie-like. If Mr. Douglas had been playing ONE of the top drug officials in the federal government, instead of THE top official, I would've found his character to be infinitely more believable.)
Soderbergh's also at the top of his game with his direction of `Traffic'. The film is virtually filmed entirely with hand-held camera, giving each and every scene an up-close-and-personal feel. There's also a distinct lack of background music, which lets the viewer feel like they're eavesdropping on real-life scenes, and not just watching a movie. These techniques make for a very personal, intense experience. Soderbergh also uses a technique he's used in some of his other films (Out of Sight, Erin Brockovich) -- certain scenes are filtered a specific color, to heighten a mood or a sense of awareness of what's about to happen. The scenes in Mexico featuring the Mexican detective Javier, for example, are all filmed in a very bright, almost disorienting yellow. It's a technique that can be irritating at times, but for the most part, it serves a bold purpose that truly adds to the film.
As for the characters, and the acting . . . jeez, `Traffic' is without a doubt one of the best-cast films of all time. I mean it. There are no weak links, no poorly written characters, and no badly played characters. Each and every character adds something significant to the story in `Traffic', and each and every actor is outstanding. Kudos must go to possibly one of the best ensemble casts of all time. Three actors in particular stand out, though -- Benicio Del Toro (who won the Best Supporting Actor Oscar for his performance), Don Cheadle (who was actually slightly better than the brilliant performance of Mr. Del Toro, IMHO), and Catherine Zeta-Jones. I'm normally loathe to use the word `flawless' when describing a film, but the casting of `Traffic' was indeed flawless.
`Traffic', with its unflinching look at drug use in America today, can be uncomfortable at times to watch. It certainly can't be termed a `happy' or a `feel-good' film. That doesn't change the fact that it is an amazing, thought-provoking, powerful film -- and without a doubt the best film released in the year 2000. I can't recommend this film enough. Grade: A
Stylistically, this film represents a major breakthrough. Soderbergh shot the film himself (under the pseudonym Peter Andrews) and Traffic takes all of his past experiments with color, available light, and hand-held work light-years beyond The Limey and Out of Sight. He has created a brilliant style that could best characterized as expressionistic naturalism. His loose hand-held style lends the film an extremely spontaneous realistic tone, but the modifications of color amplify the drama. Each storyline has its own distinct look that accentuates the emotions underlining the film. (The Mexico story involving Benicio Del Toro is told in earthy saturated yellows, the story of Michael Douglas and his daughter Erika Christensen is told in an aquarium blue, while the Catherine Zeta-Jones, Luis Guzman-Don Cheadle story gets a natural available light look). In addition to being visually striking and cool in a completely unpretentious manner, Soderbergh's camera technique transcends mere virtuosity and actually becomes another character in the film. As usual with Soderbergh, the film is edited with musical verve and skill, where time is collapsed and expanded, and characters are seen reflecting on past actions.
I've been remiss in not discussing the acting earlier. This film has an amazing ensemble cast where everybody is working at the top of their game. However, Benicio Del Toro definitely stands out with the breakthrough performance. I don't think it's accidental that the movie begins and ends with shots of him. He plays Javier Rodriguez, a Mexican police officer caught in a futile and corrupt system, and it's as compelling of a character as Michael Corleone. Del Toro is exceptionally relaxed and subtle, keeping his thoughts and feelings private from the other characters in the films, but sharing it with the camera. Del Toro navigates the audience through a world of impossible choices and moral corruption, quietly simmering with intense conflict just beneath the surface. Benicio's been an indie stalwart for years, but this film should shoot his stock through the roof. If there's justice in this world, he'll be rewarded with Best Actor Awards aplenty.
Michael Douglas is also terrific, adding another strong performance to his gallery of flawed men in power. He shows genuine fear and vulnerability in a harrowing scene in which he searches for his daughter in a drug dealer's den. I've never seen Erika Christensen before, but she makes an impressive debut. Don Cheadle and Luis Guzman (they should star as a team in every movie!) are as loose, limber and spontaneous as ever, providing plenty of comic relief as well as keeping it real. Catherine Zeta-Jones takes a complete 180 from her past roles and admirably plays against her looks, appearing very pregnant while thrown into gritty surroundings. Dennis Quaid is appropriately slimy as a corrupt lawyer.
Anyway, film geeks and anybody else starved for a genuine piece of filmmaking should breathe a sigh of relief and give thanks that Soderbergh has come to save the day.
I just got back from seeing it, and it certainly rates as one of the best story-based drama's I've ever seen. Being a big fan of movies with different storylines overlapping (as Magnolia) I was highly anticipating this movie. And of course the big oscar nominations and the prizes it already won made it even more desirable.
It didn't let me down one bit. The different story's were all excellent. Being that the mexican one was in my opinion the best one. Especially Benicio Del Toro (remember him in Fear and Loathing in Las vegas, the BEST drugs movie ever) being absolutely brilliant. But also the storyline involving Michael Douglas with his problems dealing with a daughter on drugs (well acted out by newcomer Erika Christensen) is remarkable. The topic drugs is clearly highly talked about especially in the United States, and this is actually the first movie which shows all aspects of it. The dealing and smuggling, the addiction, the risks of being a narcotics agent and the political point of view. It's hard to find a film that's so complete, everyone will feel connected to one of the storylines because everyone deals with or has dealt with drugs before, even if it's just a one time mariuhana use. That's why this movie will appeal to a very large crowd.
Anyway when you look at the flaws then maybe some will say that it takes too long, or that some of the scenes are a bit slow. But does everything go fastpaced in real life? It just tries to sketch a realistic view of handling with drugs. And maybe there isn't a lot of action going on, but that's not the goal of the movie.
The only thing I found when watching the movie was that the switching between movielines happened a little too often. I'd preferred if it stayed with one story a little longer. Just a tiny flaw that I personally noted.
Traffic is a film that has to sink in, when you start to think about it it just gets better and better. I can't wait for the official release here in Holland, so that I can see it again.
Oscar for Del Toro in any case !!!!!! And throw in an oscar for best film too. It deserves it.
Based on the channel 4 series Traffik this is an open-minded intelligent look at the war on drugs. Looking at the problem across several interlinking stories allows us to hear everyone's side to see the internal problems in Mexico, to see the futility of the DEA's actions even to see the scope of the problem facing the US political machine as it tries to fight a war against the drugs trade on all sides. The stories are told with out over doing it action happens without pomp or fanfare, explosions happen in silence, killings are brutal, swift and final. This is not an action movie. The thoughtful nature means the film moves slowly and, if you're not used to following stories then it may frustrate you. However those wishing something to get you thinking, during and after the film should be rewarded.
The film is intelligent far beyond the subject matter. The direction and editing is perfect. The scenes in Mexico are all yellow and washed out giving a desolate feeling, the scenes in political America are given a blue hue to give a colder, detached feel to the business while the scenes with the DEA are noticeably bright and realistic. This is typical of the intelligence put into the film it rewards you the more you watch it. The casting is another example of how right the film is.
Del Toro is perfect he gets the moodiness spot on but also has a fun side to his character. Cheadle and Guzman are as good as they always are and play off each other well they have an element of the `buddy cop' couple without becoming caricatures. Douglas is really good how often can you say that!? His young wife is also very good I expected her to be the weak link but she gave a good performance. These are the main players but really the cast is deep in quality from those that have bigger roles (Quaid, Bratt, Miguel Ferrer) to those that essentially have only a few lines (Albert Finney, Peter Riegert).
The strength of the film is that it lets you work it out yourself. It never goes one way or the other on the drugs issue and leaves you to decide for yourself what should happen. This is rare in an `issue' film and it should be commended. The film allows long silences for us to think but yet is never boring or dull.
Overall this is a really good film. It is shorter and more polished than the mini-series it came from, but it is very intelligently done and is though-provoking. Anyone who thinks they are sure of their stance on drugs should watch this no matter what you think this will highlight the fact that it is a complex problem to which there is no simple solution. Excellent.
Wusstest du schon
- WissenswertesThe scene in which Michael Douglas takes his trip to the California border crossing to discuss drug interdiction was actually shot at the Tijuana crossing. The video and sound quality are so low in part because it wasn't intended to be part of the movie. Douglas, out of character, started asking Rudy M. Camacho about drug trafficking on the border. At the time, Camacho was the real-life Customs chief in charge of the California border crossings. Steven Soderbergh began filming it with a hand-held camera, praying that Camacho wouldn't address the actor as "Mr. Douglas".
- PatzerFrancisco Flores has distinctive wounds on his left cheek and forehead when first shown in surveillance photos, but those wounds are only visible after he is tortured by General Salazar's men, long after the photos were taken.
- Zitate
General Ralph Landry: You know, when Khruschev was forced out, he sat down and wrote two letters and gave them to his successor. He said - "When you get yourself into a situation you can't get out of, open the first letter, and you'll be safe. When you get yourself into another situation you can't get out of, open the second letter". Well, soon enough, this guy found himself into a tight place, so he opened the first letter. Which said - "Blame everything on me". So he blames the old man, it worked like a charm. He got himself into a second situation he couldn't get out of, he opened the second letter. It said - "Sit down, and write two letters".
Robert Wakefield: [laughs] Yep.
- Crazy CreditsThere are no opening credits except for the film's title in the lower left corner.
- Alternative VersionenThe Criterion Collection DVD is presented in 1.85:1, whilst the Criterion Blu-ray is presented in 1.78:1. According to the Blu-ray insert, the latter is the director's preferred ratio.
- SoundtracksGive The Po' Man A Break
Written by Fatboy Slim (as Norman Cook)
Performed by Fatboy Slim
Courtesy of Astralwerks Records
Top-Auswahl
Details
Box Office
- Budget
- 48.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 124.115.725 $
- Eröffnungswochenende in den USA und in Kanada
- 184.725 $
- 31. Dez. 2000
- Weltweiter Bruttoertrag
- 207.515.725 $
- Laufzeit2 Stunden 27 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1