Adicionar um enredo no seu idiomaAn underground cartoonist contends with life in the inner city, where various unsavory characters serve as inspiration for his art.An underground cartoonist contends with life in the inner city, where various unsavory characters serve as inspiration for his art.An underground cartoonist contends with life in the inner city, where various unsavory characters serve as inspiration for his art.
- Angelo "Angie" Corleone
- (narração)
- Ida Corleone
- (narração)
- Molly
- (narração)
- Rosalyn Schecter
- (narração)
- Rosa
- (narração)
- Crazy Moe
- (narração)
Avaliações em destaque
Heavy Traffic must've been controversial back in '73, and caused quite a splash. But I really don't see why. This is a case where, if the movie had been made completely as live-action, no one would mention it today. The rambling and sometimes incomprehensible plot, extremely stereotyped characters, and subtle-as-a-Mack-Truck "social commentary" would've consigned this to a celluloid footnote.
Some of the animated sequences are clever, but without a strong plot and good characters, I found them to be interesting, but not compelling.
Heavy Traffic outlays Bakshi's outlook on life in a skill that could be called animated exploitation film-making. However, it's through this overloading of characters *meant* to be unattractive, sexually piggish, wretchedly racist (and, on the other side of the coin, sexist), and violent in the tradition of the Looney Tunes cartoons with the worst taste, that the film gets to the guts of the matter. It's a half-embrace, half-attack on a lack of values in a society, and as Baskhi relishes in his excess, he also is criticizing both himself for lapping it up and those in the neighborhood for being such eccentric mother-f***ers. And, as a satire should be, it's very funny, occasionally uproariously so. Scenes like Michael being pressured to get it on with the girl on the mattress on the roof, and the outcome as a sort of running gag; the scene with the song Mabeline playing, as Baskhi puts out drawings that are without much color, and look incredible for the reason that there's seemingly little effort put into the animation with the random over-the-top sexual positions; the little bits in the feuding with Michael's parents, the mother with her Jewish-star knife-holster and the father with his dedication to the "Godfather", who eats little people in his pasta, over anything really with his family; and when Michael presents "religious" cartoons to a dying old man, which to any prurient Christian taste is hilariously offensive and, well, cool.
Bakshi is so personal at times, with his taste in color schemes, in over-lapping images with film clips, combining live-action and animation (usually with dancing ladies on one side and a lurid little twerp gawking on the other), and even likely real family photos from his own family laid in, that it levels going too far. There's a tendency for self-indulgence, however not always the bad kind, if that makes sense, and one can see how the film can and has been vehemently criticized for what it is really trying to criticize in the film. But deep down, past the creative madman in Bakshi, is also a heart; his film ends on a touching note, as abstraction turns real and a totally live scene reveals another level to Michael and Carol, as real outcasts who are both totally stubborn, and somehow meant for each other. Heavy Traffic is a one-of-a-kind affair, and the kind of under-the-radar act of an outrageous spectacle that it could only be done in the 70s. Grade: A-
Você sabia?
- CuriosidadesHalf 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.
- Citações
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.
- Versões alternativasIn 1974, the film was cut and rereleased with an "R" rating, replacing the previous "X" rated version.
Principais escolhas
- How long is Heavy Traffic?Fornecido pela Alexa
Detalhes
- Data de lançamento
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- Central de atendimento oficial
- Idiomas
- Também conhecido como
- Starker Verkehr
- Locações de filme
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 950.000 (estimativa)