Ranked #4: Ralph Bakshi’s ‘Heavy Traffic’ – A Wild Ride Through Animation

by

#4 in my ranking of Ralph Bakshi’s filmography.

This movie was a project that Ralph Bakshi had planned before “Fritz the Cat.” It tells the story of an animator living under the streets of New York City, who, despite being human in appearance, creates his art underground. While there’s a hint of autobiography, it’s not overly dominant. There are also recurring themes from “Fritz,” particularly the longing to flee New York as if it were a prison. Interestingly, this film shows improvement compared to Bakshi’s previous work, but his weaknesses in maintaining a consistent narrative for 75 minutes are still noticeable.

Michael (character named Joseph Kaufmann), aged 23, is an animator residing with his father Angelo (resembling Homer Simpson) and mother Ida (Terri Haven). Angelo, a small-time mob associate in Italy, spends his nights socializing and boasting about his local reputation. This behavior often triggers heated arguments between him and his Jewish wife, which showcase the conflicting themes that Bakshi struggles to balance effectively. The fights are intensely violent, yet they’re also stylized, making it unclear whether they represent genuine harm or just exaggeration (like Wile E. Coyote cartoons). The backgrounds feature realistic New York images, while the violence is intended to convey significance but also lack meaning at the same time, reflecting Bakshi’s inconsistency in his artistic decisions and messages.

The film, much like Fritz, comprises a collection of interconnected episodes rather than a traditional narrative structure. At its heart lies the intriguing dynamic between Michael, a lifelong virgin, and Carole, an attractive black bartender (played by Beverly Hope Atkinson), who he sketches for free drinks. Unfortunately, this leads to her dismissal when he crashes through the bar’s skylight. Meanwhile, Shorty, a regular with no legs, pines for Carole unrequitedly, and a transvestite character develops a relationship with a burly construction worker who eventually beats him up upon discovering his secret. It is worth noting that the transvestite character bears some resemblance to minstrel show characters in its design.

Carole accidentally enters Michael’s room, causing frustration for Angelo, who dislikes her due to her race. The initial encounter between Carole and Michael’s family involves immature humor, a style Bakshi enjoyed. Angelo brings home a large woman with the intention of taking Michael’s virginity, leading to another heated argument between the parents while the woman persistently advances towards Michael. This occurs as Carole exits the bathroom, sparking Angelo’s anger. The scene concludes with the woman performing an intimate act on Michael, prompting Ida to climb onto the larger woman in an attempt to stop her. Unfortunately, the bed collapses under their weight. Though it was meant to be funny, I found the scene mostly uncomfortable.

As a cinephile, I must confess that while “Carole & Michael” showcases a compelling dynamic between its protagonists, it’s not without its flaws. For one, Carole’s character seems to overlook some rather conspicuous instances, such as her boyfriend’s peculiar antics, which would typically warrant a reaction.

In the narrative, Carole takes up employment at a dance club, and Michael unexpectedly enters the picture, acting in a questionable capacity as her manager. This role strains their relationship due to the mounting financial pressures.

The plot takes an unfortunate turn when Michael is brutally shot due to Angelo’s prejudice against interracial relationships, leading him to put out a hit on Michael. Regrettably, this film isn’t particularly noteworthy overall. However, it does surpass the bar set by “Fritz the Cat” in terms of its storytelling and character development.

In essence, the narrative unfolds as if the protagonist, Michael, is experiencing life through the lens of a pinball game, reflecting Bakshi’s clear intention to draw parallels between New York City and a pinball machine. This comparison suggests that life in New York can be tumultuous, much like a pinball game.

Additionally, it becomes increasingly apparent that Michael has been creating an animated representation of his reality, populated by people he knows or encounters. This could be likened to the fantastical world of Dorothy in The Wizard of Oz. Notably, Michael encounters the real-life version of Carole exiting a bar, approaches her, engages in conversation, and persuades her to dance with him in a park. Alas, finding love in this world remains an elusive dream…

Yeah, obvious message is obvious.

In fiction, clear messages can be acceptable as long as they’re presented effectively, but “Heavy Traffic” fails to captivate in this regard. It appears that the director lacked the ability to maintain a coherent narrative flow throughout the approximately 80-minute duration of the film. The separate vignettes overlap, hindering any significant narrative momentum from developing. Moreover, the director’s tendencies are evident in individual scenes, which rarely align with the surrounding content. Despite these issues, there seems to be a more personal touch to the storyline, suggesting autobiographical influences, as opposed to his previous work, “Fritz.” This personal angle lends more focus to the main character’s narrative, strengthening the overall structure and providing a stronger foundation for other ideas, even if they don’t always fit seamlessly. Regrettably, his artistic style has not evolved significantly, still appearing two-dimensional without depth or shade.

It’s an improvement on Fritz the Cat, but it’s still not good.

Rating: 2/4

Watch the whole thing for yourself here:

Read More

2025-02-16 00:15