After viewing Ralph Bakshi’s Heavy Traffic (1973), one thing becomes crystal clear: Ralph Bakshi has a rather apparent obsession with the juxtaposition of people/events in the world, character archetypes, and stereotypes. As an artist, he seems to obsess over the idea that people are very often a byproduct of their environment. They are influenced by everything within said environment, from the way it looks, to the way it smells, to the other zany characters that inhabit it. What is so remarkable, however, is the way in which Bakshi communicates these ideas, and how one may miss some of the more subtle communications if they are not paying close enough attention (as I made the mistake of doing upon first viewing Heavy Traffic). Through an interesting blend of live-action and 2D animation, a daring level of political incorrectness, a dense catalog of racist stereotypes, and complex and highly flawed characters, Bakshi created what can either be viewed as one of the most divisive films ever made, or precisely the opposite, depending on one’s point of view.
When interpreting the film by itself, Heavy Traffic appears, to me, as a work that intends to imitate real life as closely as it possibly can. Not only does it imitate archetypes that everyone is bound to run into at some point or another, not only does it attempt to mimic the perverseness and randomness of life, but it also attempts to recreate the sort of bubble in which most of us live. In addition to this, Heavy Traffic portrays life in such a way that imitates the lens we oftentimes view the world through. Each and every person walking the earth is the protagonist of his/her own “movie”. This causes us to live in a bubble and to view the world through a slightly different lens. Some people view the world as a very hostile place, while others view it as benevolent. Heavy Traffic attains a level of realism by catering to these different lenses. One minute, we are watching a mafioso put a hit out on his only son, and the next minute, we watch as two characters enjoy a peaceful evening at the park while listening to someone play guitar. Life is as perverse as it is complex, as chaotic as it is peaceful. Heavy Traffic speaks to this through both its visuals and its storytelling techniques.
It would be rather empty-headed to talk about Heavy Traffic (or Bakshi as an artist) without thoroughly discussing its use of animation. Like all of its other elements, Heavy Traffic’s animation is chaotic and genuinely unpredictable. This is not to say that the film is shapeless, as there are several visual elements that remain constant. For one, the entire film has a grimy texture, seemingly choosing to make each and every location look as dirty as possible. For another, the color palette is very dull, only really popping when it comes to the characters’ clothing, lips, and eyeballs. Although the film does stick to these visual guidelines, it still varies wildly, each variation giving the viewer a new way to interpret the story.
When examining the animation styles of Heavy Traffic, arguably the most standout element is the combination of 2D animation and live-action. Though most would be familiar with this style thanks to the film Who Framed Roger Rabbit? (1988), this animation style is also present in Ralph Bakshi’s film Coonskin (1975). Sometimes, the mix of live-action with 2D animation seems like an odd choice, and is seldom used in the modern day. It garners criticism when used contemporarily, such as Bakshi’s 1992 film Cool World. However, I believe that Bakshi had his artistic reasons for this decision in Heavy Traffic. Heavy Traffic not only takes place in New York City, but in a dirty and violent New York City (very common for 70’s filmmakers, ie The French Connection). Bakshi wanted to establish the grim reality of a main character who grows up in a big, crime-ridden city. Blending our 2D characters with a real, photographic backdrop of the city that they inhabit is a highly effective way to establish realism. Why imitate the violent and grimy side of New York City when you can actually use it? So, the next logical question would be: why does the film need to feel so real? Well, when Heavy Traffic is viewed in its entirety, it becomes clear that Bakshi wanted to create an effective commentary on real-life social issues, i.e. race, class, gender, sex, etc. Therefor, the realism of the film is incredibly important when taking into account the objective of the artist.
Interestingly enough, the beginning few minutes and the last few minutes of the film take place in complete live-action. In the opening scene, we see our main character, Michael, as a live-action human being, playing pinball. We then revert to 2D animation, with live-action backdrops being used. There are many ways one could interpret this. It is possible that the animation is meant to simulate an exaggerated and cartoony version of Michael’s world, as if we are taking a dive into his thoughts. After all, Michael is an aspiring animator. Perhaps he views the world as a sort of exaggerated cartoon, which in turn stimulates his desire to translate this onto paper. In other words, most of what we’re viewing in Heavy Traffic is a direct representation of how Michael views the world around him. It is through a lens of hyperactivity (i.e. “Heavy Traffic”), a heightened reality. This is also communicated through the over-the-top caricatures, as well as the idea of the pinball machine, which will be discussed later.
Another interesting aspect of Heavy Traffic’s animation is the actual locomotion itself. While the outside backdrop is actual photography of New York City, the characters’ movements oftentimes contrast with this realism. In fact, they almost always contrast this. And although the actual drawn backgrounds are not the most detailed in the world, they are certainly grounded in reality. Contrast this, then, with the chaotic, Looney Tunes-esque movements of the characters. Every punch, slap, zip, twist, and turn bears resemblance to the movements of Chuck Jones’ animations for Warner Bros. For example, when Michael’s mother is punched off of a balcony and sent whizzing across a clothesline, only to ricochet back and be punched over and over again, one would be hard pressed to debate the scene’s resemblance to countless moments in the Wile E. Coyote and Road Runner cartoons. When Michael’s father zips over to the window for some fresh air (after having been shoved into a burning hot oven), it looks an awful lot like the movements of a panicked Scooby Doo or a determined Daffy Duck. Even though the characters do not look like they would have been designed by Chuck Jones or Joseph Barbera (they look more like the designs of Matt Groening), they certainly move around in that way.
So, if you are going for thematic realism, why then would you give your characters such zany and unreal movements? Well, Bakshi’s work is very in touch with the nature of the real world, indeed. But what is the nature of the real world if not a constant supply of wackiness and chaos? Oftentimes, when a person has gone through a traumatic event, that person will state “It didn’t feel real.” In other words, sometimes the world is so hostile and chaotic that it seems unreal. This, I believe, is why Bakshi chose such chaotic movements for his characters. Consider the way in which the over-the-top movements of his characters contrasts with the surroundings. It mirrors similar motifs in Bakshi’s work, i.e. the way all of the crime, anger, and violence contrasts with those quiet and peaceful moments (such as listening to a street performer play guitar, as Michael and Carol do at one point in the film). If we take New York City as an example, then in the same day, horrible criminal acts occur while, just a few miles away, wealthy people enjoy a quiet evening in their brownstone apartment. If you are listening to someone play the saxophone on a street corner in the bad side of town, odds are that, just a few blocks down, someone is getting mugged. Heavy Traffic’s writing shows how perverse life can be, and this is further imitated by the visuals of the film.
Moving on from the locomotion of Heavy Traffic’s characters, another important aspect of the film’s visual storytelling is the design of the characters. First of all, let’s face it… most of these designs are racist caricatures. Some may say this is a product of the times, and while that is true, I think it is also a byproduct of Bakshi’s over-the-top portrayal of the world, as mentioned earlier. This, of course, does not excuse the offensive nature of the designs, but it also should not prohibit one from studying the film.
When viewing Heavy Traffic, something immediately becomes apparent. Michael, the main character, looks slightly different from the other characters. Though our live-action protagonist does make the transition to 2D animation, he still retains realistic features that his other, more cartoonish counterparts lack. His facial features are well-defined and proportional. The eyes are regularly sized, his nose symmetrical, and his lips consistent with real lips. This may seem odd, considering his father bears more than a passing resemblance to Homer Simpson. His mother, too, looks a lot like a character straight out of The Simpsons, specifically the evil babysitter from the episode “Some Enchanted Evening.”
Now, it is tempting for one to assume that Michael looks different simply because he is the protagonist. However, the next question is “but why?” In all honesty, why does the protagonist in this specific film look different than the other characters? Well, Michael seems to play the part of “good kid, bad city.” He is much more benevolent than the crooks, deviants, gangsters, and other unfavorable characters around him. This is especially true in regards to his being a virgin. Like the opening titles of Bojack Horseman, Michael floats through as things happen around him. He is a passerby among the bottom feeders and the shady criminals. This is not to say that he is a passive main character, because he is not. However, he does not engage in the same level of morally questionable behavior as the rest of the characters do. For example, after Michael accidentally knocks a woman off of a rooftop, his buddies get into a brutal and bloody fight. But, during this fight, Michael is nowhere to be seen. What I am getting at is this: Michael’s design is different from the other characters because he is a fundamentally different character than the rest. He is a saint among sinners, even living under the same roof as a mafioso. Of course, the animated Michael commits an atrocity at the end of the film, but it could be argued that the animated Michael is not the “real” Michael, but a representation of his thoughts. More on this later.
Leaving behind the visuals of Heavy Traffic (as I have gone into about as much detail as I wish on that subject), I would like to further discuss Michael’s character. As I previously stated, he is a good kid in a bad city. This sets us up for another important thematic element, that being the corruption of moral innocence. Upon first viewing the film, many viewers likely predict Michael losing his virginity to Carol. In fact, many probably hope for this, especially in a film so rampant with racist caricatures. However, this does not happen, as Michael instead pops his cherry with a prostitute, kindly brought home to him by his mafioso father. So, despite remaining unemployed and somewhat detached from the environment around him, Michael’s lingering has ultimately lead to his own corruption, even though it was against his will. I believe what Bakshi was trying to say with this is that one will always be affected by one’s environment, whether or not one decides to get involved with their environment.
A pinball machine was the perfect way for Bakshi to symbolize the nature of a corrupt city. The pinball machine serves as a metaphor for the inner city. The nature of both is very chaotic. A pinball machine contains a ball that zooms and whizzes all over the place, bouncing and ricocheting off objects large and small. This accurately simulates the way in which inner-city life can send one into a tailspin, oftentimes running into an even bigger conflict, which in turn will lead to an even bigger conflict, and so on and so forth. For example, in the film, Carol quits her job because of her rude manager. Shorty becomes jealous when she chooses to live with Michael, rather than himself. Meanwhile, Michael’s father becomes enraged that Michael is dating a black woman. In accordance with the dramatic principle known as “Chekov’s Gun,” these two characters, whose fury Carol has ignited, come back to bite both Carol and Michael when Shorty and Angie come together to try and kill Michael.
I believe that “Chekov’s Gun” is an effectively-used principle in Heavy Traffic. Chekov’s Gun states that every element in a story must be necessary, and must serve a purpose in advancing the plot. In other words, if something is shown early on in the film, it will come into play later, trusting that the writer knows what he/she is doing. So, when we see Shorty become jealous that Carol goes and lives with Michael, of course this is going to come into play later. This can be compared to the physics of a pinball machine. For example, if I hit the pinball with one of the flippers, the pinball might go flying into one of the targets. The target will send the pinball flying in a separate direction, depending on where the target is hit. Not only that, but where the target is hit depends on which part of the flipper the pinball was launched from. In other words, what happens in the beginning will ultimately be significant down the line as the ball further ricochets. This, I believe, was Bakshi’s intent with the pinball machine metaphor.
After viewing Heavy Traffic in a UNCSA animation class, many years ago, most of my classmates could not help but discuss the gratuitous sex and violence in the film. As far as sex goes, a lot goes on both on a surface level, and a deeper level. First of all, the main character is a virgin at 22 years old (incorrectly referred to as 24 in the film’s theatrical trailer). Considering that the average age of virginity loss in America is 17 years old, Bakshi purposefully made the 22-year-old Michael an outlier. He clearly sought to make the protagonist an outsider and a misfit, thus giving him more appeal to the common viewer. This works, considering that most people have felt like an outsider, as well as a deep level of existential angst, at one point or another in their lives.
On the topic of sexuality in Heavy Traffic, Bakshi definitely toys with the idea of wolf-packing and the pack mentality among adolescent men. For example, there is a very memorable scene which takes place on a rooftop. A group of teenage boys surrounds Michael and encourages him to have sex with a nearby woman (he is still a virgin at this point in the film). This scene is clearly meant to portray the way in which teenage boys band together and pressure one another into doing things, especially sexual things. Often, when a male member of a friend group has not lost his virginity, and the rest have, one can bet that he will be pressured into losing it. Bakshi simply could not have told a story about a 22-year-old virgin without incorporating this. Interestingly enough, however, Michael is not portrayed as distraught when the ploy to lose his virginity falls through (quite literally, as the woman gets knocked off of the roof). In fact, he does not appear to be all too insecure about still being a virgin, despite the way his father, for instance, judges him for it. Perhaps this is because Bakshi wanted Michael to even more so appear lost in his own mind, more concerned with his animations than any sort of sexual accomplishments. This speaks to the ability of Bakshi to layer a scene such as the scene on the rooftop, to kill two birds with one stone, so to speak. Not to mention one woman.
Sexual insecurity is rampant in Heavy Traffic, most evident during a scene in the bar, when Snowflake gets brutally beaten up. Snowflake is a nymphomaniac trans character, and his fate serves one of the film’s subplots. In the bar at which Carol works, Snowflake is seen seducing a barfly and eventually having sex with him. Upon the realization that Snowflake is a trans person, the barfly savagely beats Snowflake to a bloody pulp. The irony in this scene is quite apparent. The barfly was thoroughly enjoying himself while hooking up with Snowflake, before he knew that Snowflake was a transvestite. However, once his expectation dissolves into the reality of the situation, he goes absolutely berserk.
The beating scene is quite disturbing, so much so that one may wonder what Bakshi is trying to say with it. Well, this scene borrows a classic technique from the works of Chuck Jones, albeit clearly more adult-oriented. The technique in question is that which portrays an expectation, followed by harsh reality. For instance, Wile E. Coyote’s expectation each time he sets a trap is that said trap will kill the Road Runner. But the reality ends up being that his trap harms no one but himself. Similarly, the barfly’s expectation is that Snowflake is a cisgender woman. But the reality ends up being that Snowflake is a transvestite. On one hand, this scene could again serve to expose the irony and unexpectedness of life. On the other hand, it serves to show just how fragile people’s sexual insecurities really are, and how quickly people’s sexual insecurities can take them from being a horny barfly to a violent and vengeful fiend.
Snowflake is a more important character than one might think. She is a crucial puzzle piece to the thematic elements of Heavy Traffic. She is also another prime example of Chekov’s Gun and how effective it can be, specifically when her story intertwines with Angie’s, Michael’s father. Throughout the film, we witness Angie being unfaithful to Michael’s mother, Ida. In his introduction, he has just finished spending some time with a prostitute, as he very frequently does. Over and over, Angie is seen going from prostitute to prostitute, operating with impunity, not fearing any sort of consequence. Later in the film, after having his request denied by his mafia boss, Angie is seduced by Snowflake, and has sex with her. Though it really isn’t revealed whether or not Angie knew Snowflake was a transvestite, we can assume this is not something he would be keen on, seeing just how prejudiced his character is. During the film, he is shown to be extremely racist when he finds Carol living with Michael, as well as toward his own wife, who is Jewish. So, not only does Angie’s sexual deviance catch up to him, but his own prejudices do, as well. This is brilliantly set up by Bakshi in the beginning, with Angie’s scenes of sexual promiscuity, along with Snowflake’s scenes of trickery. The two storylines intertwine in a moment of ironic payoff.
Going back to the scene on the rooftop, much is said about violence during this scene, just as much as sex. After Michael accidentally knocks the woman off the rooftop, he and his pals turn a blind eye to it. This is most certainly a commentary on how commonplace violence is in this sort of setting, as well as how desensitized the city’s youth can become to violence. To add insult to injury, Michael’s pals immediately engage in a brutal yet frivolous brawl with one another, all the while a campy and lighthearted song playing over it. This only adds to the sentiment that violence in the inner-city becomes commonplace, especially to the youth who have grown up around it.
If one is talking about Heavy Traffic, the offensive nature of the film simply cannot be overlooked. Sometimes, it feels wrong to even talk about the film in a positive light. Let’s face it, is Heavy Traffic culturally inappropriate by today’s standards? Absolutely. There are lines of racist and sexist dialogue that make us cringe. Does this make its storytelling any less good? I am inclined to think not. Though its racist caricatures, the portrayal of women, the portrayal of transgender folks, and the gratuitous nature of the film certainly might make one living in 2020 cringe, Heavy Traffic makes an effective commentary on the human condition and what it means to live in the inner-city. After all, can we really sit here and pretend that these racist, sexist, and violent acts don’t happen in the inner-city? Again, I am inclined to think not. Perhaps Heavy Traffic is just a bit too accurate in its portrayal of inner-city life, and this, I believe, makes people feel uncomfortable. To that I say that the film did its job. If we are being honest with ourselves, shouldn’t we feel uncomfortable when viewing a story straight from the underworld of New York City? The answer to that, of course, is yes.