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R.P. McMurphy takes a look at TRAFFIC
Hey folks, Harry here with R.P. McMurphy's wondrous examination of that Soderbergh film that just seems to be making the rounds on test screens near you. And I am yet again SHOCKED to see another very very positive review... I mean, afterall... this is a Soderbergh film... and we all know how he makes intelligent thoughtful films... and us being thoughtless geeks that live only for Sci-Fi and Horror... well we should hate this stuff right? WRONG!!! heheheh, Soderbergh's our man... besides.. he's working up a sci-fi film... It's happening man, it's happening... Here's the other insane man....
Hey Harry, R.P. McMurphy here, with a review of Steven Soderbergh's
TRAFFIC. To say I was privileged to gain access to this screening is an
understatement; TRAFFIC happens to be the film this particular nutcase was
anticipating more than any other this promising fall season. Soderbergh is
one of the most prolific, naturally gifted filmmakers working today,
weaving distinct themes of revenge and female empowerment, as well as a
breathtaking visual and temporal style, throughout everything from a
comedic noir (OUT OF SIGHT) to a crowd-pleasing social-problem film (ERIN
BROCKOVICH). Add to that my admitted predilection for Altmanesque
interweaving-plotline narrative structures (if you didn't think MAGNOLIA
was the best film of last year, email me...I'll straigthen ya out); my
hankering to see Don Cheadle and Luis Guzman together again; and, finally,
the fact that this film was going to tackle such a pertinent issue
head-on...well...let's just say if this didn't turn out to be the best
thing since sliced bread, I'd riot.
So the fact that it didn't quite meet my expectations was no surprise, but
make no mistake, this is still one of the best films of the year. Evidence
that Mr. S. is still working at the top of his game, TRAFFIC is a
courageous, richly layered, engrossing, and mature look at the personal
costs of the drug war, the lives which are shattered, the family members
left stranded by a loved one's addiction. On a much deeper level, though,
the film is about making a certain sacrifice regardless of if there's any
real positive consequences (from the addict who just can't quit, to the
DEA agent who's progress is hindered by the very government he serves,
each person gives him or herself to something which may look futile to
others). First, let me give an overview of these characters and
performances:
Michael Douglas (Robert)-I was a bit concerned in the Judge's early
scenes, since Douglas is initially a bit stiff (the pressure he feels at
the D.C. function in which everyone has an opinion on what he should do as
newly appointed drug czar...it just didn't seem palpable). Also, some of
the early scenes in which he is "shown the ropes" at different national
borders and state headquarters seemed a tad dry and emotionless (albeit
still well filmed...when the border patrol takes apart a car at the
border, it's a bit of minutiae which Soderbergh fascinatingly and
realistically shoots). However, the second half contains some of Douglas'
best work. As Robert's family begins to fall apart, his desperation is
moving, the way he throws himself into fixing things. What he does during
the White House speech...marvelous. His perfomance only pales when
compared to Ian Holm's masterful work in THE SWEET HEREAFTER, in a similar
role of a dad torn apart by his daughter's addiction. But comparing such
matters isn't all that fair.
Catherine Zeta-Jones (Helena)-I love it when Soderbergh takes an actor I
had doubts about, and then gives him or her an opportunity to let talent
bloom. I HATED Roberts before BROCKOVICH, but now...she's on her way to
the Oscar podium. I also love how in his films, he takes female sexuality
and then subverts it, making the audience feel guilty of seeing these
women as sexual objects. From Andie MacDowell's inability to orgasm in
sex, lies, and videotape, to Roberts' fiery independence in BROCKOVICH,
this is a fertile theme for him. Take Helena's evolution in TRAFFIC...she
starts out as, "I don't know what to do without a man around," and then,
well....I won't give it away. But with Zeta-Jones, this is proof she can
really act; we see the conflict within Helena, and how she makes this
decision for her family, which may seem rather outrageous.
Benicio del Toro (Javier)- He also hits a career best in this film, with a
subtle, masterful turn as a man whose job and relationship with his
partner take drastic turns. He handles things like a pro, but the drug war
becomes too much for him, and there's a great scene where he explodes in
the middle of a traffic jam.
Erika Christensen- As Douglas' daughter (I forget some character names),
she is a revelation, and she deserves a Supporting Actress nomination for
the raw, heartbreaking work she does here.
Cheadle & the Guz- What a team! Their camaraderie is as juicy and funny as
expected, giving the film some comic bite. There's a dark turn which is
wonderful...but I really wanted much, much more of Cheadle after this
certain turn.
Dennis Quaid- One bad apple can't spoil the bunch. He's hardly on at all
anyway, and his character is the most undernourished. The pivotal scene
between him and Zeta-Jones just ended too quick for me.
Topher Grace- His monologue about how racial strife enters into the drug
trade is phenomenal! He can do more than That '70's Show! Yay!
Soderbergh is great at showcasing quiet moments for each of his
characters. Since they are each isolated by their individual quests, he
has marvelous shots of them dwarfed by their settings, and moments of
frailty (i.e. del Toro's aforementioned explosion; Christensen showering
in her clothes after getting high) which are painfully intimate. He is
also his own D.P. here, and Hicks' description of the look of the film as
BROCKOVICH meets THREE KINGS meets INSIDER is dead-on. Like in BROCKOVICH,
bright whites and tans communicate peace or goodness (i.e. signalling
Javier's inherent nobility) while harsh blues signify moments of tension
or unease (i.e. Grace's character exposing Christensen to crack). And
there's a scene of psychedelia, using dissolves, which is beautiful. The
use of quiet and stillness during an explosion...I'll stop now, lest I
give too much away.
Stephen Gaghan's script is brutally honest and ingeniously
structured. He's brave enough to show the downward spiral of drugs, yet
adult enough to give a subtle message of hope.
The only flaws are, as I mentioned, the lack of emotion in some
bureaucratic scenes, and the brevity of certain scenes. In fact, the end,
although poignant, is a bit abrupt. Also, LIMEY was more inventive
filmmaking, and BROCKOVICH had a fuller sense of human interaction
(although since TRAFFIC is about isolation, it's unfair to hold this
against it really). But, please note that I'm not quite one to tell
Soderbergh to change anything....he's smarter than me. (the whole lobotomy
thing doesn't help my situation) This is the third best of the year for
me, behind BROCKOVICH and Curtis Hanson's WONDER BOYS (caveat emptor: I
don't see ALMOST FAMOUS until tomorrow, and the only Toronto entry I've
seen is the overly syrupy THE DISH). Proving that Soderbergh and Michael
Douglas are very intelligent...like any of us needed to be reminded.
Until next time,
P.S. It was great meeting you at the SD Comic Con, Harry!
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That was embarrasing and served no purpose. My initial idea was to go for third, but after this long comment that chance is probably gone. Besides this is not the most sought after subject. If I one day could be number one on a Spiderman or X-Men talkback, my life would be truly complete. I have however no doubts that this will be one of the very best films of the year. I can't wait for Douglas to give us a decent performance again after years of either doing nothing or opting for stuff like the Ghost and the Darkness. And Zeta-Jones in a good role? Can it be? Oh, am i third?
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I managed to singlehandedly ruined the order of thistalkback! I am truly the super-spy of my generation!
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Sep 16, 2000 9:05:11 AM CDT
Congratulations Ethan Hunt. Now go bang Nicole Kidman some more
by phreeform
I have nothing other to say besides I am getting in line for this movie right now. Hey Harry, will you post my stories from the line?.......... Just kidding, you geeky, hot-air balloon man.
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I was interested in seeing this movie, until I found out this guy was responsible for that load of tripe Brockavich movie. Worse than that shitty Travolta one, and just as fraudulant.
http://www.hudson.org/new_detail.cfm?Art_ID=270 -
Did anyone ever think that the real important part of "Erin Brokovich" wasn't necessarily the case she was working on, but Brokovich herself? I'm just wondering because that's what I got out of the movie. It was a story about a woman and that entire lawsuit thing was just the background and motivation for her growth and change. And I'll say this...the scene in the car where she gets told about her daughter's "firsts" will always get to me. I thought that was one of the most real scenes out of the entire film. I think that nothing "went wrong" in the case as severely as in most movies like "A Civil Action" because there was so much shit going on at home for her and to add in a bunch of other obstacles would be too overwhelming for the viewer to accept. The problems at home were also downright honest in the way they were handled. In most movies, the mother character would then quit her job or find a (many times unrealitic) way to combine both her home and family. I love that Soderbergh can do all these different types of movies and still maintain strong female characters. And I, for one, can't wait to see what he does with "Traffic."
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We heard your fucking tirade in the Traffic talkback. I don't know what you think the purpose of film is, but I can tell you it isn't about competition. Please think of something new to talk about...
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Okay, this post is in direct response to about 5 other talkbacks. A few points: First of all, to call Magnolia one of the worst films of '99 is pathetic. Sure, it ran a bit long and may not suit everyone, but it wasn't a BAD film. I didn't care too much for The English Patient, but I still wouldn't call it a horrible movie. Second: not wanting to see Traffic because you didn't like Erin Brockovich is just plain idiotic. Ever heard of a SCREENPLAY? Soderbergh is just the director, so if you had some problems with the structure of Erin Brockovich it'll have nothing to do with his direction on a completely different movie with a completely different screenplay. Third: Erin Brockovich DID run into some problems with her case. The town turned against her -- remember? I admit that the film could've used a few more setbacks, but it *did* have at least one or two. BTW -- the story wasn't really about the case as much as it was about the woman.
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...like All Thumbs and mooves already pointed out, is more about the woman than the court case she was working on. I thought that was fairly obvious...well, other than the fact that it was a vehicle for Julia Roberts more than anything else. And Mali_Ocean, don't you think provocative subject matter counts for SUBSTANCE? You WILL be checking out TRAFFIC I'm sure, despite your concerns about the MAGNOLIA-lover reviewer's thoughts, because you had ERIN BROKOVICH on your list of best films for 2000. Also, be careful about ridiculing other people's opinions on film - you were the one after all, who thought X-MEN was trash. I respected your thoughts for a while, until you said you loved M:I-2 and touted it as a masterpiece!!!!
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Are you running a tell-all website or a cog in the marketing machine? The guy who wrote this article is an industry exec who's been reading honest-to-goodness reviews of movies by real people for about the last forty eight hours. My name is Ralph. My e-mail is fremensmok@aol.com. One more question. Have you actually seen Traffic?
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Sep 17, 2000 6:57:38 AM CDT
UMMMM, I know that you were saying TRAFFIC might be good...
by mr_sinister
...and I'm sure it will. I just had an issue with the way you thought the reviewer was less credible because he likes MAGNOLIA. Also, unlike you I apprectiate all genres of film and do not really have any favourites, whether they be fantasy, comic book, drama, thriller etc. You seem to have a closed view of what movies should be like, but still they're your opinions and I respect them. However, the chase through the streets of Australia on the motorcycles being remembered as one of the best ever? I don't think so. Cruise was being himself, and Dougray Scott was such a non-presence as the villain. I didn't hate M:I-2 like alot of other ppl. It was an ok waste of 2 hours but hardly anything memorable.
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It's the coolest series on the web
www.oddvark.com -
Sep 17, 2000 6:21:01 PM CDT
Wonder Boys, MI2, Erin Brockavich, and The Insider have nothing
by cruel shoes
EVENTUALISM!!!!!!!!!!!!!!!!!!! No's Army, jigsaw.
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