Traffic

"Traffic" is a 4 hour TV miniseries which begins as an exposé of international narcotrafficking with stories developed on both the supply side (Afghanistan) and the demand side (Seattle). As the film spins its web of intrigues which include a DEA agent on a smuggling mission in Afghanistan, human trafficking, and even a possible terrorist attack on the US it develops side plots involving the DEA agent's family, the Seattle DEA office ops, an immigrant in search of family, corrupt traffickers at both ends of the smuggling corridor, and more. The result is a convoluted drama which continually cycles through it's many stories providing convenient mini flashbacks as audience reminders as it pulls it's separate parts together to show their interconnectedness and provide a sort of global overview of the problem of contraband smuggling and its effects on people. Overall the miniseries is well directed with good performances by a nominal cast, good production value, and a post 9/11 story with a terrorism angle. However, it is somewhat scattered, lacking cogency, fraught with loose ends and plot holes, and occasionally tests believability. Realists interested in narcotrafficking should check out "Traffik (1998)" first. (B)

I really enjoyed the new made-for-TV miniseries "Traffic". It's important to note that this was roughly based on another miniseries called "Traffik" (spelled with a 'k'), made in 1989 by the BBC. I liked that one immensely, it is easily one of the best movies I've ever seen. But I would still rate this new effort as way above average.

The story is compelling viewing, mainly because it hits so close to home - literally and figuratively. The movie is roughly organized around two main scenarios: one involves the illegal smuggling into the United States - by way of the commercial seaport of Seattle, Washington - of cargos of illegal immigrants; the other deals with a terrorist-organized shipment of smallpox, meant to wipe out huge masses of population in the U.S. In a post 9-11 world it's the kind of story that ought to make one sit up and take note.

Both stories grab your attention: both are dark and tragic enough to really make you feel empathy towards all involved. I found myself really caring about the fates of each of the main characters, I anxiously awaited the following episodes, and was willing to tune in for three nights consecutively - something I don't often do with made-for-TV stuff nowadays.

I couldn't help but note a few flaws, probably because I was subconsciously comparing this film with the aforementioned "Traffik", the BBC miniseries of 1989, which was generally a superior film. I felt this current miniseries got a bit too melodramatic and sensationalistic here and there, and it seemed that characters were doing things that seemed too contrived for reality. (Made-for-TV says it all!). Another distraction was the fact that the seaport in the story was purportedly supposed to be Seattle, Washington. Well, it turns out the whole thing was filmed in Vancouver, British Columbia, Canada. Since I'm from Seattle and know what my city looks like, I had a good chuckle out of watching the film trying to pass off Vancouver as Seattle.

But these flaws are minor and largely cosmetic compared to the real gist of the film, which is essentially the dark and seamy nature of the "trafficking" which the movie addresses: the smuggling of illegal immigrants is a reality, as is the threat of terrorists using shipping containers to smuggle in WMD's. (A couple of years ago here in Seattle, customs inspectors found a freight van on board a cargo ship that had about 15 dead Chinese illegals in it. Seems they didn't survive the trip across the Pacific. So the human smuggling that is depicted in the movie is a real issue and is based on actual events.)

If you get a chance, watch this miniseries (hopefully it will be out on DVD or videocassette someday). I also heartily recommend that you find a copy of the aforementioned BBC miniseries "Traffik". Both films cover serious issues that, in this day and age - especially post 9-11 - are impossible to ignore.

In short, good stories; and their presentations never die. And in acceptance of this, despite the "sure deals" and "assumed audience" that USA had working for them, they have managed to develop a brilliant scheme that played out. "Traffic", in it's own right, is a beautifuly executed miniseries of it's own. And should be allowed to stand on those legs, despite it's legacy. For this is an issue that man has left unfounded,; and to be so humanistlicly illustrated, quite possibly more than it's predecesor. For this is a story about our own legacy's, our own weaknesses - which has managed to play it self out in of all places: Our Televisions.

Traffic looks at the issue of smuggling in drugs, people and of course weapons of mass destruction. It ties the issues in distant lands, the war terrorism to things such as your children and your home.

Unfortunately it does it with that sort of 1980s cop show drama feel, though taking itself far more seriously. What is more, the simplistic anti-drug and anti-terrorism messages are not that interesting.

All in all, it is an OK series, it is well made. The plot may be cheap, but the plot twists are enough to keep it going.

What is more, the acting is superb and the realism of characters lifts this out of morass.

PLEASE!!! Is it not possible to make a show anymore that does NOT have the "amateur" camera movement. In my heart, I KNOW the anti-jiggle technology built into cameras now would enable a 5 year old to shoot steady shots.

They probably offer "Jiggly Camera 101" in film school now.

And why, please why, do we need 7-10 different camera shots of someone's face in rapid succession for a scene in which 1 or 2 would do nicely? Editor/splicers need the work, I guess.

I did not care for the movie, so I expected just about what I got from the mini series. Very little.

Glad they are repeating Dennis Miller's new show, which is running against this. Wifey wanted Traffic. She pays the bill, so guess what we watched.