At the Movies: 'Traffic'

In his latest film, the gripping drug-war drama ``Traffic,'' Steven Soderbergh accomplishes something few directors can today â€” he juggles several complex story lines and a huge, big-name cast

Friday, December 22nd 2000, 12:00 am

By: News On 6

In his latest film, the gripping drug-war drama ``Traffic,'' Steven Soderbergh accomplishes something few directors can today â€” he juggles several complex story lines and a huge, big-name cast and makes it all look effortless.

The film at first seems like one long, beautifully shot public service announcement for the ``Just Say No'' movement. But it eventually reveals itself as an indictment of the war on drugs.

Soderbergh, also the film's cinematographer, explores the pervasiveness of drugs â€” and the futility of current efforts to stop them â€” through a hyperreality, one that's raw and edgy at times, dreamy and almost hallucinatory at others.

Nevertheless, he and screenwriter Stephen Gaghan make it all achingly real â€” not one moment of this 147-minute film feels forced or fake.

They put a face on the drug war by following richly detailed characters in three intertwined plots:

â€” Tijuana cops Javier Rodriguez (Benicio Del Toro) and Manolo Sanchez (Jacob Vargas) work the U.S.-Mexico border, where the authorities are as dirty as the drug sellers themselves.

â€” Ohio Supreme Court Justice Robert Wakefield (Michael Douglas) is tapped as the new U.S. drug czar, but he's clueless that his 16-year-old daughter Caroline (Erika Christensen) has a serious habit of her own.

â€” Drug Enforcement Administration agents Montel Gordon (Don Cheadle) and Ray Castro (Luis Guzman) try to bring down San Diego drug kingpin Carlos Ayala (Steven Bauer), whose very pregnant wife, Helena (Catherine Zeta-Jones), has no idea what her husband does for a living.

The film's sheer enormity is impressive. Add to that Soderbergh's enthralling visual style. He shot the film as if it were a documentary, hurtling us to the front lines of the drug war using handheld cameras. We are running around with the drug agents along the border â€” there's a tangible sense of immediacy.

He differentiates between plots beautifully using bleached, brownish tones along the Mexican border; bluish hues for the Washington bureaucrats pushing the anti-drug message; and bright spring colors for the DEA agents.

``Traffic,'' based on the British 1980s miniseries ``Traffik,'' also works in the small details. Cameos from U.S. Sens. Orrin Hatch and Barbara Boxer contribute to the film's authenticity.

But the performances make the film's emotional effect complete. All are uniformly excellent, but a few stand out.

Douglas surprises again in another low-key role â€” different from the hopeless English professor he played earlier this year in the excellent ``Wonder Boys,'' and a far cry from the smarmy arrogance his characters usually exude.

Del Toro is outstanding as always. There is something in his eyes, a been-there, done-that attitude, that oozes strength and confidence.

And who is this Erika Christensen? She's done some television work here and there, but her insightful, raw performance should make her a rising star.

As Caroline's smart-mouthed boyfriend, who gets her hooked on drugs, Topher Grace from ``That '70s Show'' is a sporadic and too infrequent bright spot.

While the whole film packs a punch, Caroline's story is the most devastating. She starts using drugs recreationally with her rich, bored friends, but quickly delves into the harder stuff. Soon, she's visiting the seedy part of town, alone, still dressed in her school uniform, jonesing for a heroin fix. Her deterioration is deeply troubling to watch.

A side note: if you're looking for sparks between real-life husband and wife Douglas and Zeta-Jones, forget it. They're not even in the same story line and never share the screen.

No matter. There's enough here to keep anyone in awe.

``Traffic,'' a USA Films release, is very much rated R for pervasive drug content, strong language, violence and some sexuality.

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Motion Picture Association of America rating definitions:

G â€” General audiences. All ages admitted.

PG â€” Parental guidance suggested. Some material may not be suitable for children.

PG-13 â€” Special parental guidance strongly suggested for children under 13. Some material may be inappropriate for young children.

R â€” Restricted. Under 17 requires accompanying parent or adult guardian.

NC-17 â€” No one under 17 admitted.