HEAVY TRAFFIC (1973)

Title: HEAVY TRAFFIC

Year of Release: 1973

Director: Ralph Bakshi

Genre: Animated, Comedy

Synopsis: The adventures, and misadventures, of a male animator in New York City, and the assorted characters with whom he comes into contact.

Within a film history context: Adult animated films did not appear on a regular basis before the 1970s, with only several productions released in the 1950s and 1960s. The first major adult animated film was Joy Batchelor and John Halas' ANIMAL FARM (1954). Based upon the novel by George Orwell, it was a drama about the conflict between the farmer and his animals, and how the bad animals win the battle, but ultimately lose the war to the good animals. This movie set the trend for adult animated films which explored serious subjects in a stimulating manner. HEAVEN AND EARTH MAGIC (1962), directed by Harry Everett Smith, was a more free form film, shot in black and white, about a young woman who encounters various different situations. Daisaku Shirakawa's DOGGIE MARCH (1963) was a Japanese movie about a dog and his exploits in the forest. DOGGIE MARCH is just one example of the predominately international animated productions released in this era. WEST AND SODA (1965), directed by Bruno Bozetto, was an Italian film revolving around a man trying to take advantage of a woman by wresting her land away, but relief comes in the form of a mysterious man intent on helping her. 

Per Ahlin and Tage Danielsson's OUT OF AN OLD MAN'S HEAD (1968) was a Swedish comedy concerning an elderly man reminiscing about his life, the film mainly animated, with a smaller live action component. More controversial was the Japanese A THOUSAND & ONE NIGHTS (1969), directed by Eiichi Yamamoto. The animated adventures of Aladdin traversing through the Middle East were brought to life with much sexual content that set the tone for later films. Osamu Tesuka and Eiichi Yamamoto's KUREOPATORA (1970) was another sex-filled movie, this time following the intrigues of Cleopatra. Next came one of the most notorious adult animated features of all time - FRITZ THE CAT (1972), directed by Ralph Bakshi. Centering around a promiscuous cat in the 1960s who causes all manner of mayhem wherever he proceeds, it was a commercially successful venture for the director, slaying many dragons in its wake. HEAVY TRAFFIC was reminiscent of the director's own FRITZ THE CAT, and similarly sexually-oriented films such as A THOUSAND & ONE NIGHTS, but also, took leaves out of ANIMAL FARM's book.

Where it is most similar to ANIMAL FARM is in delineating the conflict between two opposing parties, which is the crux of the movie. While in ANIMAL FARM it was between the farmer and the animals, then the animals warring in turn among themselves, in HEAVY TRAFFIC tensions flare up between different people for various reasons, mainly power-based tussles, such as the Mafia storyline. The main consequences are generally violent in nature, with little or no reflection upon why these incidents occurred, or a tragic aftermath attached to these. There is a great attention to spectacle, and gore in HEAVY TRAFFIC but, unlike ANIMAL FARM, never any real exploration of sadness, or regret, at what has occurred to the characters. Blood and guts fly around in HEAVY TRAFFIC with regularity, but these are shown to the audience in a black comedic vein than anything else. The film is more nonsensical and irreverent in tone than ANIMAL FARM but, its attention to extreme sexual content takes it into another realm.

Where A THOUSAND & ONE NIGHTS, KUREOPATORA, and FRITZ THE CAT prepared audiences for animated sexual content, HEAVY TRAFFIC goes beyond these examples. While the first two films were mainly concerned with expressions of female nudity and sexuality, in HEAVY TRAFFIC copious male nudity is also featured. In an odd manner, this gave the film a balance in this arena, whereby the two previously mentioned films could have been accused of a concentration of female nudity, and blatant female objectification. On the other hand, having such images blasted at the viewer does make the movie somewhat tiresome, and repetitive. As the overriding intention has been to shock the audience, the film has succeeded in achieving this aim. In its barnstorming, uninhibited way, HEAVY TRAFFIC set a precedent for overt violence, language and sexuality in animated film, something no other movie of its type since has been able to duplicate.

Overview: Ralph Bakshi is an animator who has directed nine films since making his debut in 1972. His first movie, FRITZ THE CAT (1972) was about an iconoclastic cat who indulges in sex, drugs and violence within the film's almost eighty minute runtime. COONSKIN (1974) was another journey into sex and violence by the director, this time with an African-American protagonist giving the Mafia and police a run for their money. WIZARDS (1977) marked a major change in content for Mr Bakshi, with much less sex and violence than his other movies, in this tale of a wizard aiming to control the world via the use of technology. In complete contrast, THE LORD OF THE RINGS (1978) took J.R.R. Tolkien's classic tale, giving it an animated spin, again less strident than Mr Bakshi's first films. Into the 1980s, AMERICAN POP (1981) was a slight return to more racy form for the director, in this story of a Russian Jewish musical family through the years. HEY GOOD LOOKIN' (1982) was concerned with several characters in Brooklyn set during the 1950s. It was a slightly more measured film in terms of its content versus Mr Bakshi's first works, but still had much innuendo and some violence. FIRE AND ICE (1983) was a fantasy about a woman and her son wanting to take over the world during the Ice Ages. Mr Bakshi's final film thus far as director, COOL WORLD (1992) was a combination of animation and live action, in a narrative about an animator who finds himself in the cartoon of his creation, and being pursued by a beautiful woman. HEAVY TRAFFIC was Ralph Bakshi's second film, and one of his most notable works for several reasons.

Apart from FRITZ THE CAT, HEAVY TRAFFIC is striking for its unrestricted scenes of animated sex and violence, accompanied by much coarse language. This allows the director to explore many facets of humanity in an explicit, no holds barred manner. Mr Bakshi here largely presents the underside of New York City, with all of its sleazy aspects on view for viewers to take in and consider. The director does an energetic study of this, leaving very little, if anything, to the viewer's imagination. Mr Bakshi has as his central focus a young animator, highlighting his family life, especially his parents' interfaith marriage, and how the union of a Jewish woman, and an Italian man, is not without its problems. Michael Corleone's reaction to his parents' marriage, their fractured family life, and how he, and his father, and several other characters, handle New York City's many foibles, make up the content of the film. The movie also contains examinations of family, religion, promiscuity, homosexuality, interracial relationships, employment issues, to name a few themes. While the film's intentions to be as honest as possible within the animated format could be seen as being admirable, nonetheless, leaving everything hanging out, as the saying goes, does have its drawbacks for the film as a whole.

The avalanche of sex and violence in HEAVY TRAFFIC, at times, can be overwhelming to take. While it seeks to serve not only a comical but also, a satirical and black comedy purpose, having too much taking place all the time leaves the viewer exhausted mentally. One does have the inclination at times to say, enough already, I have seen that, any more and it is overkill. The director's aim to slaughter as many sacred cows as he can within the film's running time is a monumental feat, and an achievement not to be underestimated. A little more quiet and thought in the film, though, would have done it wonders, spacing the many frenzied segments better, making them more palatable overall. This would have made moments such as Ida's recollections of her childhood, one of the most touching segments of the film, even more powerful. The film's most thoughtful, beautiful moments occur at the movie's conclusion when Michael and Carole are in the park, dancing together. It seems as if all the film's derring-do leads to this, which is surprising, but does give the movie a nice feel at its conclusion, wiping away a little of its overarching grime. In all, the director has to be given credit for making a film that was, and still is, technically excellent, and stands as probably Ralph Bakshi's most unrestricted movie project ever.

Acting: As this is an animated feature there is a small amount of acting as such, with the exception of Joseph Kaufmann and Beverley Hope Atkinson in several live action scenes. Despite appearing in a limited number of scenes in HEAVY TRAFFIC, Joseph Kaufmann makes his presence felt in the movie. An actor with a definite aura of streetwise, nous, and easy charm, Mr Kaufmann's contribution to the film is one of its assets, adding a human note to the sometimes overwhelming melees taking place onscreen.

Soundtrack: HEAVY TRAFFIC has a funky score that is in keeping with the setting and themes of the movie, suiting the melting pot of New York City, and the frayed emotions of the characters in the film. There are a number of songs used in the movie, with 'Scarborough Fair' the most memorable.

Mise-en-scene: As mentioned previously, Ralph Bakshi has assembled a film which is technically very well made. The melding of real outdoor locations with animation is a marvel to witness, and the special effects and lighting used in many instances is eye-popping. The DeLuxe color stock is beautiful, filled with color without ever being overly bright to watch.

Notable Acting Performances: Joseph Kaufmann.

Suitability for young viewers: No. Frequent coarse language, male nudity, female nudity, adult themes, high-level violence.

Overall Grade: C

Link: IMDB Page

Trailer

THE CAST OF JUD (1971) - WHERE ARE THEY NOW?

After recently watching the film JUD, and witnessing the performances of the actors in the movie, I was struck, and intrigued by the fact that many of the main performers either had a small list of acting credits, or just this film on their resumes. 

This prompted me to compose the following post, which I hope sheds light on these great actors, and what became of them. In saying this, I sincerely hope that they are well, and doing something they love in life, but, as a reviewer, it would have been great to have seen more work from them. I will start with lead actor Joseph Kaufmann. An actor who starred in a handful of films, he was perfect as the introspective, volatile Jud.

Robert Deman was also excellent as the sexually conflicted, photogenic Bill, who had an ingratiating, smooth charm.

Bonnie Bittner was a lovely, sensitive presence as Kathy, the only woman able to become close to Jud.

I also wonder what became of Alix Wyeth, the film's incarnation of a tigress. A woman of many passions and emotions, her Shirley was great to watch, a kind of movie version of daytime drama THE YOUNG AND THE RESTLESS' Jill Abbott.

JUD (1971)

Title: JUD (Alternate title JUD THE SAVAGE SOLDIER)

Year of Release: 1971

Director: Gunther Collins

Genre: Drama

Synopsis: A Vietnam veteran returns home to Los Angeles to live in his uncle's apartment complex, and finds immense trouble in getting back to a normal life.

Within a film history context: There were quite a few movies made in the late 1960s, and early 1970s which explored Vietnam veterans, and their return to American society. The vast majority were exploitation films in character, with some occasional forays into more thoughtful territory. One of the first was Russ Meyer's MOTORPSYCHO! (1965). A film with revenge and murder themes, the Vietnam veteran of the piece was a psychologically tormented man capable of anything. The Vietnam veteran protagonist of THE BORN LOSERS (1967), Billy Jack, was a man more morally upright than other variations on the theme, helping to keep a sense of law and order in a small town, namely protecting the young women from harm. Such was the popularity of this film, directed by actor Tom Laughlin, that it led to four sequels over the course of almost twenty years. 

Nick Millard's ODDO (1967) was different in nature, with a veteran emotionally spent, and finding fault with anyone who crossed him. Another Vietnam veteran with emotional problems played out this time in Bruce Kessler's ANGELS FROM HELL (1968). The veteran on this occasion was an ex-biker returning to build a new biker gang, seeking to take on the police at their own game. Many of these films, and other examples from the 1960s, were action-oriented in nature, with little, if no, time for reflection. The 1970s also had its mix of exploitation and more conventional narratives, the mental fragility of Vietnam veterans the main accelerator of action.

One of the most infamous depictions of a Vietnam veteran was THE RAVAGER (1970), directed by Charles Nizet. Notorious for its violent content, it was about a veteran returning home to become a killer and rapist, as he experienced in Vietnam, and becoming the same. Rated X in 1970, it is notable for its sheer reveling in sex and violence, something later movies also capitalized on. More comic in intent was Brian De Palma's HI, MOM! (1970). Without violence but with more comedy asides, it was the seventh film of Robert De Niro as a veteran living in an apartment block, and his experiences with the other people there. Irreverent also was CAPTAIN MILKSHAKE (1970), directed by Richard Crawford. The protagonist this time became involved with drugs and counterculture figures, this filling out the narrative. Burt Topper's THE HARD RIDE (1971) featured bikers similar to others in the genre, but this time around the plot concentrated upon a man promising his Vietnam friend to carry out a deed, but finding this demanding to deliver. 

One of the most expressive, impressive films about veterans returning home was Richard Compton's WELCOME HOME SOLDIER BOYS (1971). A carefully plotted film that builds to an unexpected, plausible climax, it was one of the best films in this genre. Similarly, MY OLD MAN'S PLACE (1971), directed by Edwin Sherwin, was a more character-driven piece than action focused in scope. Two veterans join another on a farm, where tensions spill over. Different in scope and character, John Guillermin's SKYJACKED (1972) had a veteran as an airplane hijacker. Trading more in suspense than violence, it was one of the most restrained examples of the genre. In comparison to these films, JUD had the intricate set of events that made WELCOME HOME SOLDIER BOYS so compelling, and with its sense of realism, but diverted from others in their quest for violent escapades, and sensationalism.

It was a down-to-earth character study that concentrated upon its lead character, analyzing his reactions to situations in an intensive, methodical manner. JUD was character-driven in nature, and, unlike many of the previous examples, did not depend upon action sequences, or visually flashy set pieces to make its points. While there was some violent content in the film, it was never gratuitous, and referred back to the main character, and his actions. The film also had well-developed, three-dimensional supporting characters, something the other films, with some exceptions, did not explore. The film had other attributes which set it apart from other films in the Vietnam veteran genre.

JUD was also refreshing in that the main character was sound of mind, something that deviated from the other films, which coasted upon the lack of mental stability, almost always exclusively leading to violent consequences. This film actually depicted many of the people who came into contact with Jud as themselves being emotionally insecure, with Jud as the most stable person. It seemed as if they sought Jud's solace, as he appeared to be solid in character, when all he wanted was to find a state of belonging in the world after all he had witnessed during war. For these reasons, JUD was one of the most intimate, thoughtful, well-acted films with a Vietnam veteran theme, and merits closer examination, and plaudits, for what it set out to achieve in its quiet, but unsettling manner.

Overview: Gunther Collins has the distinction of directing only one film, being JUD, whilst also serving as its screenwriter. His other credit was as a writer for A SWINGIN' AFFAIR (1963) a comedy which starred Arline Judge. It is unfortunate that he only was director for this sole film, as, judging from his work on this motion picture, it would have been very interesting seeing what else he would have produced. In saying this, one can only judge from his contribution here, and I do this with great pleasure. With reference to JUD, Mr Collins has made a movie that has held up particularly well almost fifty years after its initial release, and is one of the better Vietnam veteran-themed movies. 

A solemn film that unfolds its story in a straightforward, sincere manner, and without histrionics, JUD is about a young man who returns from Vietnam to stay at his uncle's apartment complex, struggling to adjusting to life back home. Mr Collins' screenplay casts a sympathetic, realistic light on its main protagonist, the viewer seeing events through his eyes. While it could be argued that concentrating upon one main character restricts the film, making other characters less important, it actually provides a suitable framing device for the film, keeping it on track, and deleting the need for superfluous scenes. This structure also highlights another important element of the film. Having many of the peripheral characters all possess the need, and want, for Jud's attention, would seem overdone in another film, but here it works. It allows for Jud to be at the forefront, and the natural interweaving of characters in and out of the narrative. Aside from this, there are further great aspects of JUD which are worthy of discussion.

The director, intermittently, gives the viewer an insight into Jud's mind that gives access to why he acts the way he does, which only make the character more believable. The flashbacks to Jud's experience in Vietnam at unexpected moments occur during pivotal scenes, giving extra power to what is occurring onscreen at that time. In addition to this, the flickering images of Jud's fiancée are also effective, making perfect sense for the character, and his motivations in the film. The blend of characters in the apartment complex is also convincing, and effective for the film, showing sides of Jud that may not have been depicted otherwise. Selected examples of these stand out in JUD for their notability.

The tawdry woman who tried to push herself on Jud, as well as the gay man living at the complex who tries to become closer to him, are several characters who attempt, in their own way, to connect with him, all to no avail. Likewise, his abbreviated associations with Sunny and, in particular, with Kathy, are all in character for Jud, who is finding unease in assimilating back in society. While it could be asserted that the film, with all of these sub-stories, goes nowhere, this judicious pacing and story insight are why the film works so well. Events are not closed with a bow in JUD which may seem unsatisfying at first glance, but this sense of authenticity imbues the film with a balance that distinguishes it from films with a more happy-ever-after, or tragic tone. Life at times goes nowhere with certain events and people for reasons not immediately obvious, and Gunther Collins has beautifully, and with subtlety, exemplified this in JUD.

Acting: JUD is a film where the performances propel the movie, adding to its feeling of veracity. In the lead role of Jud, Joseph Kaufmann does a great job. His internalized emoting works exceptionally well here, using his eyes, and gravelly voice to excellent effect. Mr Kaufmann resembles fellow actor Wendell Burton, the difference is that Joseph Kaufmann is the dark-haired version, with more of a harder-edged temperament. This makes him a very good choice for the role, playing someone who is not open emotionally, keeping his composure until the final reels. As with Joseph Kaufmann, Robert Deman excels in his role as Jud's antithesis, the passionate, needy Bill, a gay man who tries to unsuccessfully become part of Jud's life. A darkly handsome, intriguing actor, Mr Deman's acting is on a par with Joseph Kaufmann's, making him sympathetic, especially during the character's most tenuous sequences. In addition to Joseph Kaufmann and Robert Deman, two other actors produce splendid work in JUD.

As Shirley, a woman who throws herself at Jud, Alix Wyeth infuses her small part with vulnerability and heated anger at being spurned by Jud. She gives depth and fire to what could have been just another vulgar trollop, and makes her feelings understandable to the audience. The final performance of note in the film is by Bonnie Bittner as Kathy, another woman who attempts to become acquainted with Jud, albeit, more successfully than the other characters. As played by Miss Bittner, Kathy is sensitive, luminous, lovely and, the most grounded of all the characters in the film. Similar to Alix Wyeth, Bonnie Bittner does not appear to have made films other than JUD after 1971 which is disappointing, considering their great contributions to the film. On a side note, JUD was also the film debut of model Claudia Jennings, in a small part as Sunny, one of the women with whom Jud becomes involved. In this film she does not have a chance to display her skills, but she was better showcased the next year in 1972's THE UNHOLY ROLLERS, a roller skating movie.

Soundtrack: The movie does not feature much music, preferring to keep the mood solemn with only several minor pieces played. These are employed during important scenes such as Jud's time with Sunny on the beach, and in the car chase sequence. There is though, the inclusion of songs at key intervals, such as in the opening credits, picking up Kathy on the street, and their walk on the beach, which assist to paint a vivid picture of the main character, and explain his feelings to the audience in a thoughtful way. The memorable closing credits, without any musical accompaniment, emphasize the film's final image in a stark, powerful manner.

Mise-en-scene: JUD is naturalistic in its sets and locations, providing a suitable and appropriate background to what is taking place onscreen. The apartment complex where Jud resides is dour, befitting a serviceable but unglamorous pension. The placement and movement of disparate people in the complex, interweaving throughout the building, usually making their way to Jud's room, works to build drama, and provide a context of uneasy living conditions. The flashback scenes in Vietnam are also realistic, making Jud's reminiscences both moving, and highly effective for the viewer. The utilization of other outdoor sequences such as Jud and Sunny on the beach, his exchanges with Kathy at the playground, and at the cemetery, speak volumes of the characters, and what they are feeling at that particular moment in the narrative.

Award-worthy performances in my opinion: Joseph Kaufmann, Robert Deman, Bonnie Bittner, Alix Wyeth.

Suitability for young viewers: No. Brief female nudity, adult themes, medium-level violence.

Overall Grade: B

Link: IMDB Page