Heavy Traffic

1973
VM18
1h 17min

VALUTAZIONE IMDb

6,5/10

3929

LA TUA VALUTAZIONE

An underground cartoonist contends with life in the inner city, where various unsavory characters serve as inspiration for his art.

Riproduci trailer1: 58

2 video

99+ foto

Adult Animation Hand-Drawn Animation Satire Animation Comedy Drama

Un fumettista underground si confronta con la vita nel centro della città, dove vari personaggi sgradevoli fungono da ispirazione per la sua arte.Un fumettista underground si confronta con la vita nel centro della città, dove vari personaggi sgradevoli fungono da ispirazione per la sua arte.Un fumettista underground si confronta con la vita nel centro della città, dove vari personaggi sgradevoli fungono da ispirazione per la sua arte.

Vedi le informazioni sulla produzione su IMDbPro

VALUTAZIONE IMDb

6,5/10

3929

LA TUA VALUTAZIONE

Vedi le informazioni sulla produzione su IMDbPro

Video2

Foto124

+ 118

Altri elementi simili

6,4

6,2

6,1

6,3

7,2

6,6

5,2

Le 9 vite di Fritz il gatto

6,0

Last Days of Coney Island

6,5

Fire and Ice - Fuoco e ghiaccio

6,6

Heavy Metal

4,8

Fuga dal mondo dei sogni

6,0

Cleopatra

Trama

Modifica

Lo sapevi?

Modifica

Quiz
Half way into production as Bakshi was fired (before being re-hired). A different director stepped in and animated a train sequence in which Michael goes to visit his brother-in-law. He is on a subway and witness' a woman sleeping while two men begin to undress her. Michael just watches. As the woman wakes up, she screams "rape" toward Michael. This was in the original script, but was scrapped when Bakshi returned to the project, as he felt the scene was in bad-taste.

Citazioni
Moe: Hey, It's Michael Corleone! What's you doin' now?
[makes pigeon noises]
Moe: What's you doin' now?
Michael: Hey, crazy man! How come you're not down in your basement?
Moe: Well, I, I came to kill your pigeon, boy.
Michael: Ah, that's bullshit, Moe, you're probably peekin' down at the ladies.
Moe: Yeah! My peekin' days long shut down, Michael.
[sadly]
Moe: I ain't there no more. I just ain't there.
[plays his harmonica]
Michael: Ah, you're just a crazy nigger, Moe. Just a goddamn crazy nigger.
Moe: We's all niggers, boy! Ha ha! You an' me, just goddamn crazy niggers! We's all niggers boy. Most of us don't know it yet.
Michael: [passing a joint to Moe] Hey, listen, you want some of this shit?
Moe: Even your pigeon's a nigger! Ha ha ha ha ha! That's why I'm gonna kill him.
Michael: Moe, you ain't gonna do shit!
Moe: Moe: I just ain't there. Every - everybody plays like they there... but they ain't there. I ain't there. Your pigeon ain't there! He flies high like he there, but he don't fly 'less you open that cage. And he got to come back 'cause he's trained to! He ain't there.

Versioni alternative
In 1974, the film was cut and rereleased with an "R" rating, replacing the previous "X" rated version.

Connessioni
Edited from Quarantaduesima strada (1933)

Colonne sonore
Take Five
Composition by Paul Desmond
Performed by Dave Brubeck Quartet
Courtesy Columbia Records

Recensioni degli utenti45

Recensione in evidenza

6/10

Twisted and bizarre... NOT for the Kiddies!

Heavy Traffic is everything you've heard it is... laced with some kind of bizzare sexual reference every other second (it seems) as well as totally insane violence, this brutal, bizarre and strangely sad film is worth one viewing, if for no other reason that to show that in the early '70's, Bakshi was pointing towards a concept of animated film that is only now hinted at.

I would suggest (okay, I AM suggesting) that a lot of Anime, and the useage of animated clips in both Natural Born Killers and Kill Bill (vol. I) point back to this particular film.

My take: watching the hero in "real time" is what the film is showing, with the animated bits being more inside of his head, until the end, where he is blown off by the beautiful woman that he dreams of, where we see one event that exists in his head (notice that it fails, but begins with an act of violence against the pinball machine, and also notice that the man playing with the artificial gunfighter is gunned down while a man >?< is getting naked in the photo booth) and another that ends with a sense that in a few seconds the Mary Tyler Moore theme song is going to begin.

What is real? Well, in the head of someone that creates movies held by the only boundries made inside one's own head, it is a pointless question...