# Traffic (2000)

### reviewed by
Christian Pyle

    Traffic
    Reviewed by Christian Pyle
    Directed by Steven Soderbergh
    Written by Stephen Gaghan (based on the miniseries by Simon Moore)
    Starring Michael Douglas, Don Cheadle, Benicio Del Toro, Erika Christensen,
    Luis Guzman, and Catherine Zeta-Jones
    Grade:  C+

"Traffic" has the good fortune of going into wide release after receiving Golden Globe nominations and numerous critical top-ten list postings. Without much competition, it will probably do well at the Oscars, but despite good intentions and some impressive moments, "Traffic" fails to achieve its goals.

Rather than centering on a central protagonist, "Traffic" weaves together three major storylines: a) Judge Robert Wakefield (Michael Douglas) becomes the new drug czar while his daughter Caroline (Erika Christensen) becomes a drug addict; b) Mexican cop Javier Rodriguez Rodriguez (Benicio Del Toro) pursues the Tijuana drug cartel and becomes allied with General Arturo Salazar (Tomas Milian), who seeks the same goal for his own reasons; and c) DEA agents Montel Gordon (Don Cheadle) and Ray Castro (Luis Guzman) watch Helena Ayala (Catherine Zeta-Jones) after arresting her drug-dealing husband (Steven Bauer). Director Steven Soderbergh lacks the grace of Robert Altman, but he manages to keep all three storylines running simultaneously without losing the audience.

The primary reason "Traffic" doesn't fully succeed is that it wants to be several different movies: a thought-provoking indictment of the failed "war on drugs," a portrait of addiction, and a gripping crime drama. Perhaps a more talented director than Soderbergh might have been able to pull off this triple threat, but "Traffic" only manages to partially fulfill its goals. The critique of the methods and ideology of the drug war is spotty and often awkward (particularly when minor characters suddenly launch into speeches on subjects like the effect of NAFTA on drug traffic). There's only one drug addict in the movie, which seems odd for an issue-driven film on the Drug Problem, and that one is unsympathetic. Caroline Wakefield comes off as a spoiled brat, and her descent from prep school honor student to junkie whore doesn't elicit the pathos it should. Erika Christensen does nothing to humanize her character.

Its strongest area is the crime drama vein with the parallel stories of Mexican and American cops who pursue the same cartel from different ends of the supply chain. Especially compelling is Javier's plight. An honest cop working within a corrupt system, Javier walks a winding and dangerous road paved with compromises. Benicio Del Toro gives a remarkable performance. A film like this tests the ability of an actor to develop his character with limited screen time. Del Toro communicates more with a pensive look than most actors can with a soliloquy.

Also passing with high marks: Don Cheadle and Michael Douglas. I'm pleased that after so many wonderful supporting performances, Cheadle has gotten name-above-the-title recognition with this film. He has great chemistry with Guzman (who deserves some recognition of his own). I expected Robert Wakefield to be a heavy, but Douglas makes us feel the concern Robert has for his daughter.

In contrast, the challenge of her first substantial role proves that Catherine Zeta-Jones has no acting ability whatsoever. Her character has to go from being a high society wife whose world is overturned to a cop-killing drug dealer. However, Zeta-Jones' performance shows no internal conflict or transformation. She could be one of the worst actors in Hollywood.

In case you haven't guessed, I'm not a Soderbergh fan. Ever since he came on the scene with "sex, lies, and videotape" in 1989, I've dismissed him as pretentious hack. He's the valedictorian of the "Look at me, I'm an auteur" school of filmmaking. (His classmates include Spike Lee and Oliver Stone). This style is characterized by an oppressive directorial presence that often undercuts the effectiveness of the film. In "Traffic," Soderbergh joins the current trend toward monochromatic tints. Douglas' scenes often have a blue tint while Del Toro's are yellow and grainy. Luckily the power of those actors performances is not impeded by the distraction, but the heavily stylized approach seems a poor choice for a film that aspires to realism.

For those who like to play It's Ol' What's His Name, the supporting cast includes Dennis Quaid, Miguel Ferrer, Topher Grace (from "That 70's Show"), Amy Irving. Peter Riegert, Benjamin Bratt, Albert Finney, Salma Hayek, James Brolin, and several real-life senators (including Orrin Hatch, who does not read from "The Exorcist").

Bottom Line: Doesn't deserve most of the Oscars it will win

    © 2000 Christian L. Pyle

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