IMDb > Heavy Traffic (1973)
Heavy Traffic
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Heavy Traffic (1973) More at IMDbPro »

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Heavy Traffic -- Clip: Maybellene


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Ralph Bakshi (writer)
View company contact information for Heavy Traffic on IMDbPro.
Release Date:
17 November 1973 (Sweden) See more »
The amorous life and misadventures of a virginal young pinball player...his Chicks...his Chums and a host of assorted weirdos in all colors. See more »
An "underground" cartoonist contends with life in the inner city, where various unsavory characters serve as inspiration for his artwork. Full summary » | Add synopsis »
User Reviews:
Bakshi's most personal work is a completely outlandish, crude, overtly abstract New York satire See more (30 total) »


  (in credits order)
Joseph Kaufmann ... Michael Corleone
Beverly Hope Atkinson ... Carole

Frank DeKova ... Angelo "Angie" Corleone (voice)
Terri Haven ... Ida Corleone (voice)
Mary Dean Lauria ... Molly (voice)
Jacqueline Mills ... Rosalyn Schecter (voice)
Lillian Adams ... Rosa (voice)

Jamie Farr

Robert Easton
Charles Gordone ... Crazy Moe (voice)

Michael Brandon ... Voice characterization
Morton Lewis ... (voice)
Bill Striglos ... (voice)
Jay Lawrence ... (voice)

Lee Weaver ... (voice)
Phyllis Thompson ... (voice)
Kim Hamilton ... (voice)
Carol Graham ... (voice)
Candy Candido ... The Mafia Messenger (voice)
Helene Winston ... (voice)
William Keene ... (voice)
Peter Hobbs ... (voice)
John Bleifer ... (voice)
rest of cast listed alphabetically:

Ralph Bakshi ... Various Characters (voice) (uncredited)
Jimmy Bates ... Snowflake (voice) (uncredited)
Walt Gorney ... Bum (uncredited)

Directed by
Ralph Bakshi 
Writing credits
(in alphabetical order)
Ralph Bakshi  writer

Produced by
Samuel Z. Arkoff .... producer
Steve Krantz .... producer
Mark L. Rosen .... co-producer
Original Music by
Ed Bogas 
Ray Shanklin 
Cinematography by
Ted C. Bemiller 
Gregg Heschong 
Film Editing by
Donald W. Ernst 
Production Management
Harry Love .... production manager
Art Department
Robert Dranko .... storyboard artist (uncredited)
Visual Effects by
Susan Jonas .... special effects (as Sue Carey)
Camera and Electrical Department
Ralph Bakshi .... background photography
John Vita .... background photography
Animation Department
Fred Abranz .... assistant animator
Mary J. Adams .... ink and paint artist (as M.J. Adams)
Ann Marie Babbitt .... assistant animator
E.L. Bailey .... ink and paint artist
Jack Bailey .... assistant animator
Ralph Bakshi .... character creator
O.B. Barkley .... assistant animator
Tom Baron .... assistant animator
Bob Bemiller .... animator
Bernice Bissett .... ink and paint artist
Jean Blanchard .... assistant animator
Bob Bransford .... animator
Pernella Butler .... ink and paint artist
William Butler .... background artist (as Bill Butler)
Joan Case .... assistant animator (as Joan Swanson)
Janet Cummings .... final checker
Sukhdev Dail .... assistant animator
Sue Dalton .... final checker (as Suzie Dalton)
Chris Dane .... assistant animator
B. Davenport .... ink and paint artist
Daniel de la Vega .... assistant animator (as Danny de la Vega)
Ed DeMattia .... animator (as Ed De Mattia)
Eve Fletcher .... ink and paint artist
Dotti Foell .... animation checker (as Dottie Foel)
Melissa Freeman .... ink and paint artist (as M.A. Freeman)
Matt Golden .... background assistant
Colene Gonzales .... ink and paint artist (as M.C. Gonzales)
Ric Gonzalez .... layout artist
Manny Gould .... animator
Joseph Gray .... assistant animator (as Joe Gray)
Milton Gray .... animator (as Milt Gray)
Joe Griffith .... background assistant (as Joseph Griffith)
Martha Harrison .... final checker
C. Hart .... ink and paint artist
Fred Hellmich .... animator
Renee Holt .... ink and paint artist (as R. Holt)
Marsha Hunt .... ink and paint artist (as M. Eshnauer)
Alex Ignatiev .... animator
Lew Irwin .... assistant animator (as Lou Irwin)
Volus Jones .... animator
Mark Karen .... assistant animator
Mark Kausler .... animator: fantasy animation
Lianna Kelley .... assistant animator
Chris Lane .... assistant animator
Bob Maxfield .... animator
M. Frann McCracken .... final checker (as Frann McCracken)
Fred McManus .... assistant animator
Conne Morgan .... ink and paint artist (as Connie Morgan)
Don Morgan .... layout artist (as D. Morgan)
Manuel Perez .... animator (as Manny Perez)
Barney Posner .... animator
Diane Proud .... ink and paint artist
Anna Lois Ray .... assistant animator (as Ann Ray)
Tom Ray .... animator
Else Rehme .... ink and paint artist (as Elsie Rehme)
Bob Revell .... animation checker (as Robert Revel)
Bob Richardson .... animator
Nelda Ridley .... ink and paint artist (as N. Ridley)
Sonja Ruta .... assistant animator (as Sonia Ruta)
Norm Rutherford .... assistant animator
Irene Sandberg .... ink and paint artist
Alan Shean .... layout artist (as Al Shean)
Ephrem Solis .... assistant animator
John Sparey .... layout artist
Irven Spence .... animator (as Irv Spence)
Grace Stanzell .... assistant animator
Nick Tafuri .... animator
Martin Taras .... animator
Robert Taylor .... animator
Robert Taylor .... layout artist
Dave Tendlar .... animator
Ira Turek .... background drawings
Bob Tyler .... assistant animator (as Robert Tyler)
Hetta Van Elk .... ink and paint artist
Lloyd Vaughan .... animator (as Lloyd Vaughn)
Carlo Vinci .... animator
John Vita .... background artist
Art Vitello .... assistant animator
John Walker .... animator (as J.E. Walker Sr.)
John Walker .... assistant animator
Gwen Wetzler .... assistant animator
Al Wilson .... layout artist
Ellie Zika .... color modeler (as Ellie Abranz)
Editorial Department
Jack Hooper .... negative cutter
Sharron Miller .... assistant editor
Music Department
Ed Bogas .... conductor
Ed Bogas .... music arranger
Ray Shanklin .... music arranger
Ray Shanklin .... music supervisor
Other crew
Juanita McClurg .... production coordinator
Wanda Mull .... production coordinator for director

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
77 min | Argentina:79 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:18 | Australia:R | Canada:14A | Canada:R (Manitoba/Nova Scotia/Ontario) | Canada:18+ (Quebec) | Finland:K-18 | France:-16 | Netherlands:18 (1973) | Norway:18 | Sweden:15 | UK:18 | USA:R (edited for re-rating) | USA:X (original rating) | West Germany:18

Did You Know?

Half way into production as Bakshi was fired (before being re-hired). A different director stepped in and animated a train sequence in which Michael goes to visit his brother-in-law. He is on a subway and witness' a woman sleeping while two men begin to undress her. Michael just watches. As the woman wakes up, she screams "rape" toward Michael. This was in the original script. But was scrapped when Bakshi returned to the project.See more »
[first lines]
Michael: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 does it lead us? Where does it lead us? Tilt City, Pinball Alley. Blinkin' lights shot to Hell, fuck it all!
See more »
Movie Connections:
Twist & ShoutSee more »


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7 out of 8 people found the following review useful.
Bakshi's most personal work is a completely outlandish, crude, overtly abstract New York satire, 27 April 2007
Author: MisterWhiplash from United States

Heavy Traffic is, like many of Ralph Bakshi's films, a like it or hate it affair, but for those that respond to it, the film provides many a surprising attack on sensibility, decency, and what it means to get by in urban sprawl. It's almost too personal; one can see Bakshi or friends of his having gone through some of the little things in the lower ranks of New York City's daily life (particularly Brooklyn life) as depicted here. But it's this connection to a personal reality- and then a TOTAL adherence to turning this reality on its head and making it as wild, violent, and sexually deviant as possible- that is the key to the success of Bakshi's film, the best of his I've seen so far. His main character, Michael, is probably loosely based on himself; a young, would-be underground cartoonist who lives with insanely irate parents (Italian father and Jewish mother), and interacts with the neighborhood he's in with a casual attitude and a little reluctance to join in the mayhem that goes on with such kooky cats. Enter in Carole, a black bartender who won't take s*** from anyone, who teams up as a business partner, more or less, with Michael to first get cartoons off the ground, then, so it goes, misadventures in prostitution. It all leads up to an ending that isn't expected, though a sort of double-piling of shock and pleasant surprise.

Heavy Traffic outlays Bakshi's outlook on life in a skill that could be called animated exploitation film-making. However, it's through this overloading of characters *meant* to be unattractive, sexually piggish, wretchedly racist (and, on the other side of the coin, sexist), and violent in the tradition of the Looney Tunes cartoons with the worst taste, that the film gets to the guts of the matter. It's a half-embrace, half-attack on a lack of values in a society, and as Baskhi relishes in his excess, he also is criticizing both himself for lapping it up and those in the neighborhood for being such eccentric mother-f***ers. And, as a satire should be, it's very funny, occasionally uproariously so. Scenes like Michael being pressured to get it on with the girl on the mattress on the roof, and the outcome as a sort of running gag; the scene with the song Mabeline playing, as Baskhi puts out drawings that are without much color, and look incredible for the reason that there's seemingly little effort put into the animation with the random over-the-top sexual positions; the little bits in the feuding with Michael's parents, the mother with her Jewish-star knife-holster and the father with his dedication to the "Godfather", who eats little people in his pasta, over anything really with his family; and when Michael presents "religious" cartoons to a dying old man, which to any prurient Christian taste is hilariously offensive and, well, cool.

Bakshi is so personal at times, with his taste in color schemes, in over-lapping images with film clips, combining live-action and animation (usually with dancing ladies on one side and a lurid little twerp gawking on the other), and even likely real family photos from his own family laid in, that it levels going too far. There's a tendency for self-indulgence, however not always the bad kind, if that makes sense, and one can see how the film can and has been vehemently criticized for what it is really trying to criticize in the film. But deep down, past the creative madman in Bakshi, is also a heart; his film ends on a touching note, as abstraction turns real and a totally live scene reveals another level to Michael and Carol, as real outcasts who are both totally stubborn, and somehow meant for each other. Heavy Traffic is a one-of-a-kind affair, and the kind of under-the-radar act of an outrageous spectacle that it could only be done in the 70s. Grade: A-

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Did anyone else notice Michael's fathers resemblance to Homer Simpson?? Tardsman1975
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