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Traffic

  • 2000
  • A
  • 2 घं 27 मि
IMDb रेटिंग
7.5/10
2.3 लाख
आपकी रेटिंग
लोकप्रियता
1,478
62
Michael Douglas, Don Cheadle, Dennis Quaid, Benicio Del Toro, and Catherine Zeta-Jones in Traffic (2000)
Traffic: Drugs
clip प्ले करें1:47
Traffic: Drugs देखें
11 वीडियो
99+ फ़ोटो
Cop DramaDrug CrimeCrimeDramaThriller

ड्रग्स के खिलाफ अमेरिका के बढ़ते युद्ध का नेतृत्व करने के लिए राष्ट्रपति द्वारा एक रूढ़िवादी न्यायाधीश नियुक्त किया जाता है।ड्रग्स के खिलाफ अमेरिका के बढ़ते युद्ध का नेतृत्व करने के लिए राष्ट्रपति द्वारा एक रूढ़िवादी न्यायाधीश नियुक्त किया जाता है।ड्रग्स के खिलाफ अमेरिका के बढ़ते युद्ध का नेतृत्व करने के लिए राष्ट्रपति द्वारा एक रूढ़िवादी न्यायाधीश नियुक्त किया जाता है।

  • निर्देशक
    • Steven Soderbergh
  • लेखक
    • Simon Moore
    • Stephen Gaghan
  • स्टार
    • Michael Douglas
    • Benicio Del Toro
    • Catherine Zeta-Jones
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.5/10
    2.3 लाख
    आपकी रेटिंग
    लोकप्रियता
    1,478
    62
    • निर्देशक
      • Steven Soderbergh
    • लेखक
      • Simon Moore
      • Stephen Gaghan
    • स्टार
      • Michael Douglas
      • Benicio Del Toro
      • Catherine Zeta-Jones
    • 940यूज़र समीक्षाएं
    • 180आलोचक समीक्षाएं
    • 86मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • 4 ऑस्कर जीते
      • 73 जीत और कुल 86 नामांकन

    वीडियो11

    Traffic: Drugs
    Clip 1:47
    Traffic: Drugs
    Traffic: Traitor
    Clip 1:21
    Traffic: Traitor
    Traffic: Traitor
    Clip 1:21
    Traffic: Traitor
    Traffic: Got Drugs
    Clip 1:06
    Traffic: Got Drugs
    Traffic: Shoot Him
    Clip 1:16
    Traffic: Shoot Him
    Traffic: Our Life
    Clip 1:27
    Traffic: Our Life
    Traffic: She's Lying
    Clip 1:22
    Traffic: She's Lying

    फ़ोटो244

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
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    पोस्टर देखें
    + 239
    पोस्टर देखें

    टॉप कलाकार99+

    बदलाव करें
    Michael Douglas
    Michael Douglas
    • Robert Wakefield
    Benicio Del Toro
    Benicio Del Toro
    • Javier Rodríguez
    Catherine Zeta-Jones
    Catherine Zeta-Jones
    • Helena Ayala
    Jacob Vargas
    Jacob Vargas
    • Manolo Sanchez
    Andrew Chavez
    • Desert Truck Driver
    Michael Saucedo
    Michael Saucedo
    • Desert Truck Driver
    Tomas Milian
    Tomas Milian
    • General Arturo Salazar
    J.R. Yenque
    J.R. Yenque
    • Salazar Soldier
    • (as Jose Yenque)
    • …
    Emilio Rivera
    Emilio Rivera
    • Salazar Soldier #2
    Michael O'Neill
    Michael O'Neill
    • Lawyer Rodman
    Russell G. Jones
    Russell G. Jones
    • Clerk
    Lorene Hetherington
    • State Capitol Reporter #1
    Eric Collins
    • State Capitol Reporter #2
    Beau Holden
    Beau Holden
    • DEA Agent - CalTrans
    Peter Stader
    • DEA Agent - CalTrans
    James Lew
    James Lew
    • DEA Agent - CalTrans
    Jeremy Fitzgerald
    Jeremy Fitzgerald
    • DEA Agent - CalTrans
    Russell Solberg
    • DEA Agent - CalTrans
    • निर्देशक
      • Steven Soderbergh
    • लेखक
      • Simon Moore
      • Stephen Gaghan
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं940

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    फ़ीचर्ड समीक्षाएं

    javaman-7

    Soderbergh splashes colors with the dash and power of a Jackson Pollock

    Traffic (2000)

    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
    8Movie-12

    One of the best movies of the year, but not worthy of ALL of its praise. ***1/2 (out of four)

    TRAFFIC / (2000) ***1/2 (out of four)

    "Traffic" caught some of the most gratifying praise in the year 2000. Does the production live up to its expectations? To some extent. It is not a movie to take the family to on a Sunday afternoon, nor is it an "entertaining" popcorn extravaganza. "Traffic" is one of the best films of the year, but it is not a movie for everyone. I had my fair share of disappointments, and I think many audiences will walk away unsatisfied by its documentary-like style and unusual structure. "Traffic" is still a great achievement in filmmaking and visual style-worthy of some, but not quite all, of its great acclamation.

    The movie's director, Steven Soderbergh, won Oscar nominations for both of his movies last year: "Erin Brockovich" starring Julia Roberts, and this epic about the never ending war on drugs. That first film is entertaining and charming, but this is far more complex in its story. There are actually three separate plots here, the first detailing two Tijuana cops (Benicio Del Toro and Jacob Vargas) who find themselves in the middle of a corrupt police force, working for Gereal Arturo Salazar (Thomas Milian), Mexico's top drug aggressor who wants to shut down the Tijuana drug cartel by capturing a notorious assassin (Clifton Collins Jr.).

    The second story has Michael Douglas as a conservative Ohio State Supreme Court Judge turned nation's new drug czar. He has a savage job, as we can see, but it is even more difficult being the father of a 16-year-old daughter (Erika Christensen), who gets straight A's in school, but uses heavy drugs and eventually prostitutes herself for them when the supply runs low. Amy Irving plays her mother whom herself tried every kind of drug in the market when she was young and thinks her daughter should be given more freedom in this area of maturing. Her husband strongly disagrees.

    The third story is a bit more complicated, dealing with the reactions of a typical pregnant homemaker, Helena (Catherine Zeta-Jones), when she finds out her husband, Carlos Ayala (Steven Bauer), is not an executive, but a high-powered drug lord. He is taken into custody when undercover DEA agents Montel Gordon (Don Cheadle) and Ray Castro (Luiz Guzman) crack a disreputable drug cartel led by Juan Orbergon (Benjamin Bratt). Helena, with the help from her attorney (Dennis Quaid), must deal with the pressures by her husband's demanding enemies, as well as the DEA. Miguel Ferrer plays the middle-run drug dealer who is captured by the DEA agents and wants immunity for testifying against the high-powered bosses for whom he works.

    "Traffic" does not have the harrowing, compassionate, hard-to-watch tone that "Requiem for a Dream" had earlier last year, which also contained three different although parallel stories. That film depicted drug use as personal success followed by desolation and punishment. "Traffic" doesn't really make drugs personal, although the plot featuring Michael Douglas' drug addicted daughter touches on the idea, and the actors do a good job of making the character's attitudes hit home, but the film is more about the war on drugs within America as a country, and how it is a battle not likely to be won anytime soon. The picture does not capture the feeling of the characters like "Requiem for a Dream" did with its highly elaborate styles and camera effects. "Traffic" just isn't as emotionally profound as the much more worthy "Requiem for a Dream."

    Steven Soderbergh does manage to capture an inciting style with grainy, high contrast photography exploring the atmosphere of Mexico. He pays attention to even the smallest scenes. Take a scene where the Benicio De Toro character encounters a young married couple who complain about their stolen car. Many directors would have left this scene on the editing tables, or paid less courtesy to it because it is not as important as many other scenes. He gets the right mood, confusion of the characters, all while furthering the development of De Toro's character. Each individual scene here is interesting on its own merit.

    A top notch cast contributes superb performances in "Traffic." We expect and receive good performances from actors like Michael Douglas, Amy Irving, Dennis Quaid, Benicio Del Toro, and Albert Finney, but there are also some newcomers who shine with their material, including Erika Christensen and Topher Gracer. The actors really hold our attention, and with a running time of nearly 150 minutes, that is imperative. This film is greatly constructed and perfectly cast-it is the kind of movie in which you walk out of the theater wanting to discuss your opinions about it.
    bob the moo

    Involving, informative and unbiased look at the drug problem

    In Mexico Officer Javier Rodriquez Rodriquez is stuck in the middel of a country where the drug dealers and the police work hand in hand and murder is rife. In the USA the head of one of the cartels Javier is trying to close is taken to court by the DEA who have an informant (Eduardo Ruiz) in the custody of Agents Montel Gordon and Ray Castro, leaving his wife, Helena, to take care of his business. Over all this a new drug czar is appointed who begins to find that the war on drugs is not as simple as it seems and that it is a war raged in his own home.

    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.
    Michiel Waaijer

    Great film-making, acted out brilliantly.

    Traffic is a fantastic movie. Let's start with saying that.

    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.
    10xraymonkey71

    Soderbergh's best film is a thrilling ride...

    The film more than delivers on every level and is certainly a lock for Best Picture of the year. Soderbergh has been on an astonishing roll, demonstrating exceptional versatility in his choice of genres and tremendous agility in balancing artistry with entertainment. He's been America's most consistently brilliant and unpredictable filmmaker for the last decade, and Traffic is the culminating work of his career. First and foremost, it's a richly entertaining epic that recalls the great works of the 1970s, when directors like Robert Altman and Francis Ford Coppola engaged mass audiences with works of genuine substance. Soderbergh works on a larger canvass than he's ever done before, bouncing several characters and plot-lines against and off each other, so that images and themes rhyme and echo. Although the subject matter is drug trafficking, this is not an "issues" movie per se. Instead, it's a profoundly affecting dramatic thriller where the destructive forces of drugs cut across different sections of society. What's most impressive about the direction is how Soderbergh manages to avoid both sentimentalizing and moralizing about drugs. As with Erin Brockovich, there's a graceful absence of self-importance and bombast in the presentation. However, this doesn't mean the film lacks a strong point of view.

    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.

    इस तरह के और

    21 Grams
    7.6
    21 Grams
    एरिन ब्रोकोविच
    7.5
    एरिन ब्रोकोविच
    बैबल
    7.5
    बैबल
    Crash
    7.7
    Crash
    Out of Sight
    7.0
    Out of Sight
    Sex, Lies, and Videotape
    7.2
    Sex, Lies, and Videotape
    Traffik
    8.4
    Traffik
    ज़हरीला वाइरस
    6.8
    ज़हरीला वाइरस
    Gone Baby Gone
    7.6
    Gone Baby Gone
    Road to Perdition
    7.7
    Road to Perdition
    Behind the Candelabra
    7.0
    Behind the Candelabra
    The Last King of Scotland
    7.6
    The Last King of Scotland

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      The 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".
    • गूफ़
      Francisco 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.
    • भाव

      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.

    • क्रेज़ी क्रेडिट
      There are no opening credits except for the film's title in the lower left corner.
    • इसके अलावा अन्य वर्जन
      The 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.
    • कनेक्शन
      Featured in Siskel & Ebert & the Movies: Cast Away/What Women Want/Finding Forrester/Traffic/All the Pretty Horses/Before Night Falls (2000)
    • साउंडट्रैक
      Give The Po' Man A Break
      Written by Fatboy Slim (as Norman Cook)

      Performed by Fatboy Slim

      Courtesy of Astralwerks Records

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल24

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    • Who was Arnie Metzger?
    • What is the mixture sprayed into Frankie Flowers face while he's held captive?
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    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 5 जनवरी 2001 (भारत)
    • कंट्री ऑफ़ ओरिजिन
      • जर्मनी
      • यूनाइटेड स्टेट्स
    • भाषाएं
      • अंग्रेज़ी
      • स्पेनिश
    • इस रूप में भी जाना जाता है
      • Tráfico
    • फ़िल्माने की जगहें
      • सिनसिनाटी, ओहायो, संयुक्त राज्य अमेरिका
    • उत्पादन कंपनियां
      • The Bedford Falls Company
      • Initial Entertainment Group (IEG)
      • USA Films
    • IMDbPro पर और कंपनी क्रेडिट देखें

    बॉक्स ऑफ़िस

    बदलाव करें
    • बजट
      • $4,80,00,000(अनुमानित)
    • US और कनाडा में सकल
      • $12,41,15,725
    • US और कनाडा में पहले सप्ताह में कुल कमाई
      • $1,84,725
      • 31 दिस॰ 2000
    • दुनिया भर में सकल
      • $20,75,15,725
    IMDbPro पर बॉक्स ऑफ़िस की विस्तार में जानकारी देखें

    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      2 घंटे 27 मिनट
    • रंग
      • Color
    • ध्वनि मिश्रण
      • DTS
      • Dolby Digital
      • SDDS
    • पक्ष अनुपात
      • 1.85 : 1

    इस पेज में योगदान दें

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