A multi-layered satire of race relations in America. Live-action sequences of a prison break bracket the animated story of Brother Rabbit, Brother Bear, and Preacher Fox, who rise to the ... See full summary »
An animated feature which begins, ends and occasionally combines with, live-action filmed on location. A white dropout struggles to create comics and animated films, drawing inspiration from the harsh, gritty world around him. Still sharing his run-down apartment with his middle-aged parents, an oafish slob of an Italian father and a ditzy nut-case of a Jewish mother, he is ridiculed and looked down upon by his friends, hypocrites who run with violent gangs and the Italian Mafia, and a shallow Black girl who makes her living downtown with the pimps and pushers. This cartoonist gets a chance to pitch a film idea to a movie mogul, but the story proves too outrageous: a far-future Earth, destroyed by war and pollution, where a mutant antihero challenges and kills God. Complications ensue when the cartoonist's parents react in irrational ways to his various involvements. Written by
Partially into the films production, Bakshi got into a fight with one of the producers. This resulted in the producers seeking to fire Bakshi and hire Chuck Jones to finish directing the film. When Jones was approached, he declined. See more »
What makes you happy? What makes you happy? Where do you go? Where do you go? Where do you hide? Where do you hide? Who do you see? Who do you see? Who do you trust? Who do you trust? Who do you screw? Who do you screw? What kills the pain? What kills the pain? Game up, game win. Bug around, set it straight. Transaction. Play it hard, hurts so bad. Gotta win. Everyone loses. Everthing loses. Gotta win big. Sick and tired of losing. Where does it all go? Where does it all go? Where ...
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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...
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