Heavy Traffic

by Dane Youssef

This is rumored to be animation-pioneer Ralph Bakshi's favorite among all his projects. And no wonder. This is his story! A 22-year old Jewish-Itallian spends his time playing pin-ball non-stop and drawing. He still lives with his parents, an Itallian man who cheats on his wife and a Jewish woman who's so emotionally torqued up--such a drama queen, that when Angelo comes home after a night with his lady, she hits him over the head with a frying pan and sticks his head in the oven.

There's always domestic unrest in any family, particularly with interracial married couples who lived in the Bronx around this time. But they're so wound-up, so ready to snap--they come to blows and sharp instruments a little too quickly.

Way too quickly, in fact. Angelo and Ida's Punch-and-Judy relationship--coupled with the problems that reside outdoors in the Bronx--Michael seems doomed to have some of it rub off on him. "You hang around garbage long enough, you start to stink," as they say.

But Michael has an outlet for his angst and confusion. Rather than fall into the trap many around him seem to, he vents himself at the drawing board. He draws a lot of the people and places in the Bronx. Although he seems to dislike many of them, they're so broad and colorful and wired, they translate easily to caricatures.

Bakshi takes us to all the usual haunts we visit in his movies--trashy ghetto neighborhoods with buildings that look condemned, dirt-cheap apartments, behind the wheel of cars, rooftops, nightclubs, bars, brothels.

The lives of all of the Bronx inhabitants: Jews, Itallians, blacks, drag queens, junkies, vagrants, hookers, cops, thugs and the like. And by using animation, Bakshi (and Michael) sort of illustrate their world and their eccentricity, which is so dangerous, it borderlines on insanity.

I wasn't particularly crazy about the disco remix of "Scarlbrough Fair." What can I say? I fell in love with the original.

But I suppose it does fit in with the nature of the film. Bakshi uses a lot of shots of Michael playing pinball. He's a big pinball fanatic. It's obviously a metaphor, perhaps for the hectic universe in which Michael bounces from one scenario to another, for which he's constantly out of place.

Carol is a black woman who works at a local bar where Michael draws on the roof. She's loud, she's opinionated, she's passionate. And she really seems to be about something. She's not just an ethnic joke.

Like all bars, there are lots of colorful locals there, plenty of dangerous ones to be sure.

Michael tries to score free drinks with his art. But that's all he tries to score Michael's no ladies' man and he knows it. He's a deep, sensitive, skilled artiste. And a sitting duck for some of the louder, tougher guys who make up the city.

It doesn't help matter that he's a virgin and everyone knows it. At one point, some greasers try to hook him up with a loose woman who's eager to have it with a guy who's so fresh and green. Although this leads to a disaster. Even his own father tries to hook him up. Now there's a true loving father for you.

Michael has an eye for Carol (many people at the bar she tends do), not because he's dying to get laid like nearly every other male. But he seems to genuinely feel something real for her. When she offers it up to him in gratitude for a favor, he faints. He wants her, but he's just not ready.

Ida is fussy and over-protective of her son, just like a mother hen. Or rather a Jewish mother. Angelo wants his son to be more of a "man's man." Like all of Bakshi's films, this contains a lot of graphic violence and sexual images, as well as caricatures in the ethnic vein.

But surprisingly, in the strangest way, it contains real heart, as well as some sweetness. The relationship between Michael and Carol has to be seen. Bakshi could've made her just an archetype like everyone else and he didn't. She's just as developed and human and relative as dear Michael is. These two deserve one another.

"Heavy Traffic" is wildly imaginative and thrilling in all it's glory. Like "Being John Malkovich," we actually feel like we're inside the author's head rather than his film. This truly ranks as Bakshi's best. He deserves more credit for this than "Fritz The Cat." How much of all this take place in Michael's mind and how much of it takes place in his reality? Maybe they're one and the same. Maybe not. Maybe we're supposed to figure it out. It up to us. Just like Michael's life is up to him.

The characters in the city are so damn cartoonish and erratic already, they transfer them into cartoon characters without losing anything in the translation.

Bakshi doesn't paint a pretty picture of the city and it's locals. But then again, he never has, has he? That's one of the things he's known for.

But that's not the only thing. Let's hope that when he goes... he'll be remembered for a lot of things.

Especially this one. It is... not only his best, not only one of the year's best... but of the best.

--For Ralph Bakshi, for film, forever, Dane Youssef

A few previous critics of this work by Bakshi slam it for being "stereotypical" and thereby negative as a whole by implementing foul humor, language and at times even suggest that because it's a cartoon that it owes something to child-oriented animation. This is absolute pig swill. Bakshi's vision in Heavy Traffic is to present life on the streets as he knows it. His style is truly unique, overlaying animation onto real stills and film sequences to add to the New york flavor that exists throughout the film. An abusive Italian married to a worrying Jewish woman is part of our reality. Gays being abused and people having to worry about their jobs being taken by minority groups for less pay and benefits because they're more desperate than we are is part of our reality. Love regardless of skin color, and facing the consequences for it is SADLY part of our reality. By using animation, Bakshi is exercising his artistic abilities while setting it in times and themes he is familiar with. This film, along with the criminally banned Coonskin should be hailed as modern masterpieces not for their visual aspects, but for the truth lying beneath and his unabashed look at how life really is. Comparing this film to "Shrek" is like comparing the original Night of the Living Dead to the recent Dawn of the dead remake. Granted they're both horror, but they're lightyears apart and don't use any of the same effects techniques. One, like Heavy Traffic, was made for social commentary, whereas the remake, like Shrek, is merely for our homogenized entertainment values.

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...

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

Another reviewer said that people who review this film poorly are either offended by the nudity or just do not get it. The nudity (and blood) do not bother me in the slightest -- fill the screen with as many animated sex organs as you feel necessary, for all I care. On the second point, it is possible I do not get it.

While I understand the animation was innovative for its time and that the film shows urban decay -- both with cartoons and actual locations -- I cannot help but think that it just has not aged very well. Some scenes I found excellent (such as the God segment), while others were completely forgettable. It balanced out to be average at best.

The New York Times called it the "most original American film of the year." Could they look back now and say that again? I am not so sure.

Heavy Traffic is only known by the hardcore Ralph Bakshi fan base and the occasional art house folk, but not by much else. Its probably due to its notorious stamp of an X rating and its inclusion of countless ethnic stereotypes that led to its obscurity. Don't be fooled, this is not a porno. It was only given the rating due to its raunchy humor, which back in 1973 was considered too edgy for the masses. It's no different than what Family Guy is doing now on network television. As far as the racism is concerned, it's brutal, but outdated. Every ethnic person In the film represents a familiar joke or stereotype of the time. Now, the movie itself is a triumph. Truly an underestimated piece of artistic genius from one of the greatest minds that has ever drawn a cartoon. Ralph pours his culture, anger, sadness, laughter and happiness into every frame of this film. Almost to a biographic extent. He considers it his favorite project, and its obvious why. From the music, to the animation, Heavy Traffic proves that its more than a cartoon, but a microcosm of urban life in the cruelest decade to live in it. If you can get past it's lack of political correctness, it's a great flick.