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Essay / Research Paper Abstract
A 3 page essay that comments on director Steven Sodenbergh's 2001 film Traffic, which is concerned with drug traffic in North America, and traces its flow from the bottom of the supply chain to the top. In presenting this overall picture, the movie tells several parallel narratives that sometimes link together; sometimes not. At every level of the drug trade, the filmmakers show that the pivotal issue is about making money. Examination of this film demonstrates that it offers an overt message concerning the social and political issues that are associated with substance abuse and addiction. Bibliography lists 1 source.
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3 pages (~225 words per page)
File: D0_khdrtrf.rtf
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chain to the top. In presenting this overall picture, the movie tells several parallel narratives that sometimes link together; sometimes not. At every level of the drug trade, the filmmakers
show that the pivotal issue is about making money. Examination of this film demonstrates that it offers an overt message concerning the social and political issues that are associated with
substance abuse and addiction. There are four main narratives. The audience sees Tijuana cops Javier (Benicio Del Toro) and Manolo (Jacob Vargas) battling their way through the intricacies of
corrupt Mexican law enforcement bureaucracy to stop heroin from crossing the border into the US. Robert Wakefield (Michael Douglas) is a judge appointed to be the nations anti-drug czar, who
also copes with disintegrating relationships with his family, which includes a drug-addicted daughter. San Diego cops Montel (Don Cheadle) and Ray (Luis Guzman) safeguard a deal (Miguel Ferrer) who is
suppose to testify again his supplier, and his wife (Catherine Zeta-Jones) involves herself deeply in her husbands affairs in order to safeguard her family. While the movies message is
intense, as director, Sodenbergh does not preach. Rather, the cinematic perspective is detached, observant, letting the futility of anti-drug measures speak for themselves. Occasionally, a character sounds like he is
editorializing, but this fits well within the boundaries of the film. For example, at one point a character says that "at any given moment in America, 100,000 white people are
driving through black neighborhoods looking for drugs, and a dealer who can make $200 in two hours is hardly motivated to seek other employment" (Ebert). This is particularly true when
the only alternative legal employment is probably at minimum wage. When Wakefield is made the drug czar, he expresses all of the usual platitudes, all of the standard naive assumptions
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