Part 96: 2001
MOVIES:
Traffic
Erin Brockovich (hidden gem)
Gladiator (winner)
Crouching Tiger, Hidden Dragon
Chocolat
Traffic
Director: Steven Soderbergh
Starring: Benicio del Toro, Jacob Vargas, Marisol Padilla Sanchez, Tomas Milian, Michael Douglas, Amy Irving, Erika Christensen, Topher Grace, D.W. Moffett, James Brolin, Albert Finney, Steven Bauer, Catherine Zeta-Jones, Dennis Quaid, Clifton Collins, Jr., Don Cheadle, Luis Guzman, Miguel Ferrer, Peter Riegert, Benjamin Bratt, Viola Davis, John Slattery, James Pickens, Jr.
Oscar Wins: Best Supporting Actor (Benicio Del Toro), Best Writing (Adapted Screenplay), Best Film Editing, Best Director
Other Nominations: Best Picture
Drugs are everywhere. Say what you will about the “war” against them, but drugs will always win so long as people want them – and people want them. They want illegal drugs, prescription drugs, and drugs that aren’t even thought of as drugs, like sugar and alcohol. America is one of just two countries that allows direct-to-consumer advertising of prescription drugs. Turn on the TV at any time of day and you’re bound to see at least 3 or 4 commercials for some drug to treat some ailment. TV shows like Weeds and Breaking Bad have made bank on the drug trade, and it’s not just in our media.
The trading of illegal drugs in today’s modern society is perhaps one of the biggest businesses in the world. If someone can make $200,000 selling drugs every month, what motivation is there to go into an office every day? Well, maybe to sell the C-suite some cocaine, I guess!
It’s even worse for school-aged kids. You know drugs are an easy way out when half a high school is selling them, and the other half is using them. As one character says in the film, Traffic, “…it’s a lot easier to get drugs than it is to get alcohol.”
Traffic is like a jigsaw puzzle that explores the world of drug trafficking through three distinct storylines. It does not glorify drug use, rather it shows how far the drug trade reaches, and how easily it destroys everything in its path.
The first segment takes us to Mexico, where two young cops, Javier (Benicio Del Toro) and Manolo (Jacob Vargas), wait under the blazing Tijuana sun to arrest a gang of drug smugglers. Shot with a yellow filter that has inspired every filmmaker since to use yellow when filming in Mexico, these scenes feel hot. You can see the heat radiating, the sweat dripping, the frustration building. These scenes are also entirely in Spanish, so you get to hear Benicio Del Toro’s luxurious Spanish accent for a good portion of the film!
The film then cuts to a court room in Columbus, Ohio – now shot with a blue filter that gives these scenes a cold, clinical feel. Hearing his last case before taking up a post in the nation’s capital, State Supreme Court Justice Robert Wakefield (Michael Douglas) makes it clear that he has zero tolerance when it comes to drug possession. While he throws himself into learning all he can about drug smuggling, his teenage daughter, Caroline (Erika Christensen), is a willing participant in the drug culture her father is tasked to destroy.
The final segment, shot in bright hyper-saturated color, takes us to the home of Helena Ayala (Catherine Zeta-Jones). She’s shocked to learn that her husband Carlos (Steven Bauer) is being arrested for drug trafficking. Her greatest fear in live – to be a “debt-ridden, 30-year-old, mother of two” is about to be realized if she can’t figure out a way to pay her husband’s enormous sum to the cartel. She’s essentially forced to become a ruthless businesswoman in her own right as survival, then greed, take over.
Also in this storyline are two American undercover cops, Montel Gordon (Don Cheadle) and Ray Castro (Luiz Guzman), who are leading a sting operation against a mid-level drug dealer named Eduardo Ruiz (Miguel Ferrer). They’re trying to cut a deal with him to testify against Helena’s husband.
While Traffic is often billed as one of those movies where all the storylines come together at the end, that’s not necessarily the case. Rather, it Illuminates how far-reaching the drug trade is, and how trafficking narcotics can impact the lives of many different people in a variety of circumstances. It looks at all aspects of this business – from the men who police it to the people who get rich by distributing it…from the officials who manage the war against drugs to those victims who debase themselves to get the money for their next fix.
At the end of the day, as long as people want drugs, they'll always be a part of our world. Anything that takes the edge off is tempting to just about anyone, whether it's marijuana or something as simple as a cupcake. And the ‘just say no’ message gets even harder to follow when money starts pulling people into the mix. Until we tackle both the need for escape and the money behind it all, this cycle will likely keep going.
Erin Brockovich
Director: Steven Soderbergh
Starring: Julia Roberts, Albert Finney, Aaron Eckhart, Marg Helgenberger, Tracey Walter, Peter Coyote, Cherry Jones, Conchata Ferrell, Adilah Barnes, Scarlett Pompers, Michael Harney, Veanne Cox, Scotty Leavenworth, Gemmenne de la Pena, Gina Gallego, T.J. Thyne, Valente Rodriguez, Jamie Harrold, Erin Brockovich, Edward L. Masry
Oscar Wins: Best Actress (Julia Roberts)
Other Nominations: Best Supporting Actor (Albert Finney), Best Director, Best Writing (Original Screenplay), Best Picture
It’s hard to know how to take Julia Roberts’ cleavage in Erin Brockovich, a Legally Blonde-esque true story of a woman who took down a corporation that was poisoning the water and giving local people cancer. Her boobies, which honestly should have been given an Oscar nomination of their own, seem to serve a double purpose. On the one hand, they are probably there to denote a more blue-collar type of person. But, on the other, they speak to her confidence – she’s a single mom of three kids who doesn’t need a man for anything. She’s empowered, and she feels good about herself. And it’s that confidence that drives this feel-good film.
Erin Brockovich begins with a car accident. Erin (Roberts), an unemployed single mother, is broadsided by a speeding car at an intersection. She takes her case to Ed Masry (Albert Finney), a disgruntled lawyer who agrees to represent her on a contingency basis. However, Erin’s brash behavior in court does not gain favor with the jury and they take the defendant’s side.
Now, with nothing but $70 and a neck brace to her name, Erin tries an unusual approach to score herself a job: bullying her former attorney for a position as a file clerk. They lost the case – he owns her one. With grave reservations, Ed relents.
When a pro bono real estate case file comes across her desk, Erin becomes intrigued and begins investigating. She soon learns that the water supply of the property in question may have been contaminated with hexavalent chromium, a highly toxic, carcinogenic compound that can alter a person’s DNA.
Her efforts uncover hundreds of potential victims of Pacific Gas & Electric’s illegal dumping policy, and the information she puts together is convincing enough that Ed agrees to help her pursue the case. But taking on a billion-dollar corporation is daunting…and Ed isn’t sure his little mom and pop law firm has the resources to see it through to the end. Meanwhile, the amount of time Erin is spending at work is putting a strain on her relationship with her boyfriend (Aaron Eckhart) and keeping her from experiencing meaningful moments with her kids.
This is actually one of the best parts about Erin Brockovich – the film does a great job of balancing Erin’s home life and work life. She’s very clearly dedicated to her work, but she’s also a compassionate and caring mother – and this film shows how delicate that balance is for women in this position. As her case grows stronger, and her work becomes more challenging, she learns that she’s missed the first words spoken by her infant daughter – a tough realization for any mom.
This legal dramedy also stays out of the courtroom. There are no over-the-top speeches, no pleas to the jury. Instead, it focuses on the humanity of the story. We’re there with Erin when she interviews these victims. We’re there with her when she uses her infamous cleavage to break into the public record’s office, and we’re there with her when she realizes that this multi-billion-dollar company was knowingly poisoning people with their illegal activities. At the end, we’re just as proud of her as Ed is, knowing how much she’s sacrificed to bring this company to its knees.
With its reality-based, one-woman-against-the-system narrative, Erin Brockovich epitomizes the triumph of the human spirit in the face of heavy-handed corporate greed. The “David vs. Goliath” story is energizing to say the least, and it shows what women can accomplish, despite their high ideals, higher heels, and truly remarkable cleavage!
Gladiator
Director: Ridley Scott
Starring: Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed, Derek Jacobi, Djimon Hounsou, Richard Harris, Ralf Moller, Tommy Flanagan, David Schofield, John Shrapnel, Tomas Arana, Spencer Treat Clark, David Hemmings, Sven-Ole Thorsen, Omid Djalili, Giannina Facio, Giorgio Cantarini, John Quinn
Oscar Wins: Best Actor (Russell Crowe), Best Costume Design, Best Visual Effects, Best Sound, Best Picture
Other Nominations: Best Supporting Actor (Joaquin Phoenix), Best Art Direction, Best Music (Original Score), Best Cinematography, Best Film Editing, Best Director, Best Writing (Original Screenplay)
Gladiator is one of those films that is better in my memory. It was quite the theatrical spectacle when it came out in the early 2000’s, filled with breathtaking visual effects, heart-stopping battle scenes, and a villain so detestable that his pasty white skin and crooked smile was burned into my brain for years after.
Today, those same things make Gladiator feel dated. The special effects are VERY 2000’s-core, with slow-motion shots that were incredibly draining on my patience. The battle scenes aren’t nearly as bad as what I saw on Game of Thrones, and Commodus ain’t got nothing on Joffrey Baratheon.
It’s 180 A.D. and the Roman Empire is thriving. Its latest Caesar, Marcus Aurelius (Richard Harris), is celebrating a recent win on the battlefield, thanks to his best general, Maximus (Russell Crowe). Maximus is like a son to Marus Aurelius, so much so that Marcus decides to name Maximus his successor – a decision that does not sit well with Marcus’s actual son, Commodus (Joaquin Phoenix).
So, just like the little whiny baby that he is, Commodus throws a fit, locking his father in a chokehold. The old man struggles, but Commodus ultimately kills him, then has Maximus taken away to be executed – along with his wife and son.
Maximus, however, escapes his captors and races home to protect his family…but he is too late. By the time he arrives, his wife and son are dead – and Maximus is taken prisoner by slave-traders.
Eventually he is bought by Proximo (Oliver Reed), an owner and trainer of Gladiators. Recognizing Maximus’ potential, he grooms him for a trip to Rome’s Coliseum, where Maximus becomes a decorated hero. But things get interesting when Commodus, who has crowned himself the new Caesar, realizes that his new Gladiator was the man he thought he killed. Now it’s a battle to death as both men seek revenge on the other…but only one can come out victorious.
From an acting perspective, everyone is…fine. Russell Crowe gives a solid performance…nothing really bad or amazing either way. In my head, Joaquin Phoenix’s performance was way worse (in a good way) than it actually was…I remember Commodus being utterly horrible, scary even, with his near-translucent skin and creepy voice…but now I just found him annoying – a pesky little crybaby who can’t win the love of anyone – so he takes it out on everyone. Both Crowe and Phoenix have given worse performances, but they’ve given better ones, too.
Perhaps the greatest achievement with Gladiator is the detail with which Rome is brought to life. The Roman Empire – as TikTok reminds us – is one of the most romanticized civilizations in human history, and rarely has it been brought to life with the grandeur of this film. The Coliseum, for example, has been resurrected to its full glory (largely with the use of digital technology but still!)…and the scenes within its rounded walls take us right into the action, showing us what it must have been like not only to be a spectator, but to be in the ring, trying to plot, think, and survive with mere seconds on the clock and nowhere to hide.
For all its campiness though, Gladiator still tells a good story. In answer to Maximus’s question, I was (mildly) entertained…and I was swept up in the visual spectacle of it all. However, like many sword and sandal epics, it was still very long – and it felt long, especially with those slowed down battle scenes. It also very much feels like a product of its time, a movie that reminds us of what it was like to see movies in the early 2000’s. The pacing, the grandiose tone, and even the choice of music—all of it encapsulates that early 21st-century cinematic style. While some of the film’s emotional beats land well, others feel a bit overly dramatic in hindsight, perhaps because they were influenced by the kind of epic storytelling that was popular back then. But despite these quirks, Gladiator still stands as a memorable piece of Hollywood history—a reminder of how larger-than-life narratives once ruled the screen.
Crouching Tiger, Hidden Dragon
Director: Ang Lee
Starring: Chow Yun-fat, Michelle Yeoh, Zhang Ziyi, Chang Chen, Lang Sihung, Cheng Pei-pei, Li Frazeng, Wang Deming, Li Li, Hai Yan, Gao Xi'an, Huang Suying, Zhang Jinting, Du Zhenxi, Li Kai, Feng Jianhua, Ma Zhongzuan, Li Bao-Cheng, Yang Yongde
Oscar Wins: Best Cinematography, Best Foreign Language Film, Best Music (Original Score), Best Art Direction
Other Nominations: Best Music (Song) ("A Love Before Time"), Best Director, Best Film Editing, Best Costume Design, Best Writing (Adapted Screenplay), Best Picture
Ang Lee’s films have two things in common: First off, they’re beautiful to watch. Sweeping shots of stunning landscapes are pretty much trademark for the guy. Secondly, his films often center on characters yearning for freedom – freedom from the constraints that prevent them from being their true selves and, of course, loving who they want to love. These themes are present in many of his films, including Life of Pi, Sense and Sensibility, Brokeback Mountain, and this Best Picture nominee, Crouching Tiger, Hidden Dragon.
Though the cover and synopsis might have you believe that Crouching Tiger, Hidden Dragon is a kung-fu-type film, make no mistake – this is first and foremost a love story. The relationships among the four main characters showcase two sides of love: the eternal bond between souls bound together in a near-mystical way, and the passionate, flesh-driven love that ignites through raw desire. The romance between Li Mu Bai (Chow Yun-Fat) and Shu Lien (Michelle Yeoh) is shot with a delicate eroticism that keeps us constantly waiting for an emotional explosion that never comes. On the flipside, the love between Lo (Chang Chen) and Jen Yu (Zhang Ziyi) is a passionate whirlwind, driven by urgency and abandon.
The film opens with Li Mu Bai, a decorated warrior, deciding to retire his sword—not just any sword, but the legendary Green Destiny, a 400-year-old weapon comparable to Excalibur in the Far East. He entrusts the sword to Shu Lien, who is also the promised bride of his deceased brother. Their mutual respect and unspoken love are evident, though they never voice their feelings.
Under her watch, the Green Destiny is stolen by a masked martial artist. Shu Lien tries to retrieve it in a battle where both characters effortlessly scale walls and skip across rooftops. This, and other battles over the sword, seem to defy the laws of physics…but they’re so beautiful to watch that you have to forgive it.
Along the way, Shu Lien befriends Jen Yu, a young woman promised in marriage to a man she does not love. A flashback reveals Jen’s affair with a thief named Lo, which is wildly passionate and physical – the complete opposite of Li Mu Bai and Shu Lien.
Meanwhile, Li Mu Bai has second thoughts about his retirement, particularly after he seeks vengeance for his master’s death at the hands of the evil Jade Fox (Cheng Pei-Pei), who is also masquerading as Jen’s governess.
As identities and loyalties become clearer, battle lines are drawn (using very nice calligraphy). Li Mu Bai realizes that Jen Yu has a special gift that demands his tutelage. But will she become his student or be swayed by Jade? Can Li Mu Bai summon the strength for one final battle? Where is the freaking sword? And who stole it?
Obviously, the hallmark of Crouching Tiger, Hidden Dragon lies in its action sequences, which are stunning and beautifully choreographed (by Yuen Wo-Ping, who also worked on The Matrix – a connection that is immediately clear). All the actors did their own stunts, with computers being used only to remove the safety wires that held them. “Everything you see is real,” Ang Lee said.
These fight sequences also play on the dichotomy between constraint and desire. Li Mu Bai and Shu Lien effortlessly floating about in an arial ballet, with movements that are purposeful and controlled. Jen Yu, on the other hand, is a wild mess of arms and legs, fueled by passion, anger, and fear. This difference in how these characters move makes these fight scenes wildly entertaining to watch – and are certainly the best parts of the film.
Ultimately, Crouching Tiger, Hidden Dragon offers a rich exploration on the true meaning of freedom – and how everyone, regardless of their circumstances, is a prisoner in some way. The ending is up for interpretation on whether it’s hopeful or tragic but, either way, it’s a lovely conclusion to a movie that’s all about journeys, paths not taken, and all that stands in the way of true love.
Chocolat
Director: Lasse Hallstrom
Starring: Juliette Binoche, Victoire Thivisol, Sally Taylor-Isherwood, Judi Dench, Alfred Molina, Lena Olin, Johnny Depp, Hugh O'Conor, Carrie-Anne Moss, Aurelien Parent-Koenig, Peter Stormare, Helene Cardona, Antonio Gil, Elisabeth Commelin, Ron Cook, Leslie Caron, John Wood, Michele Gleizer, Dominique MacAvoy, Arnaud Adam, Christianne Oliveira, Tatyana Yassukovich
Oscar Wins: No wins.
Other Nominations: Best Supporting Actress (Judi Dench), Best Actress (Juliette Binoche), Best Music (Original Score), Best Writing (Adapted Screenplay), Best Picture
If I had the ability to Blue-Skadoo into a movie, Chocolat would be at the top of my list. Cobblestone streets, the quaint French countryside, 1950s attire, pre-Jack Sparrow Johnny Depp…it’s completely – as the kids say nowadays – my vibe.
The film begins with a line that sets the tone in a simply magical fashion: “Once upon a time, there was a little village in the French countryside whose people believed in tranquilite – tranquility.” We then see a woman and her daughter, clad in red capes, being blown into town by the wind. This simple opening scene sets us up for a fairy tale, and that’s very much what Chocolat is. Like Finding Neverland, Chocolat combines elements of realism and fantasy to bring us into a world that seems hard and bitter on the outside, but holds within it a delicious, decadent center.
For years, the small French village overseen by Comte de Reynaud (Alfred Molina) has been tranquil – aka stagnant. The people of the town do as they’re supposed to…they go to church. They mind their business. They look the other way.
But the clever north wind has other plans. As it swirls into town, it brings with it Vianne Rocher (Juliette Binoche) and her daughter Anouk (Victoire Thivisol), two vagabonds looking to stir up more than just a little drama in this sleepy town…
With her Mayan recipes and mystical aura, Vianne plans to open a chocolate shop, just in time for Lent. In addition to tantalizing the tongue, Vianne’s creations also cure lost hope and awaken unexpected desires and emotions in those brave enough to try them. Her effect on the town is immediate and extraordinary: the elderly find themselves fun and physical again, troubled couples regain their long-lost spark, and sniping neighbors become friends.
But Vianne’s decadent candies also arouse something else: an escalating battle between passion and moral indignation. As some townsfolk begin to let go, others clamp down, led by the righteous Comte de Reynaud, who declares Vianne and her chocolates public enemy number one. Everyone is stuck in the middle, torn between their solemn traditions and a rapidly growing lust for indulgence. Things get even more complicated when another stranger is blown into town…
Two years before he would set sail on the Black Pearl, Johnny Depp sails into the town of Lansquenet on a river boat, here playing a musical Irishman named Roux. Although most of the town objects to the presence of these “river rats”, Vianne embraces them, and a steamy romance forms between these two rebels (watching these two dance during the riverboat scene is straight serotonin to the brain for me).
For as much as Vianne and Roux are blamed for shaking up this quaint little town, nothing can compare to the horror that lies hidden within it – a drunken local named Serge (Peter Stormare – terrifying, as usual) who takes his aggression out on everything in his path, including Vianne’s chocolate shop, Roux’s boat, and the face of his wife, Josaphine (Lena Olin). Vianne – ever the protector – shields Josaphine from her husband’s fist by housing her at the chocolate shop, then employing her work there. Eventually, Vianne’s shop harbors all the problematic people in town, including Roux, Josaphine, and Vianne’s landlady, Armande (Judi Dench), who enjoys a hot chocolate or two, despite her losing battle with diabetes.
Like the confectionaries Vianne creates, Chocolat takes on many different characteristics as the tale deepens. It can be devilish in its allure, compel blissful joy in moments of sadness, and offer comfort in moments of sorrow. It’s one of the few instances where the film is just as good, if not better, than the book – with each offering a different experience and neither more or less joyful and delicious than the other. The book envelops you, pulls you into Vianne’s world as if you’re reading a classic myth or fairy tale. The film, complete with beautiful visuals and one of the best soundtracks I’ve ever heard, is engaging in a whole different way, enveloping your senses and making even the loudest chocolate haters crave just a little bite of that sweet, creamy goodness (plus, how can you watch pre-Willy Wonka Johnny Depp eat truffle after truffle and NOT want a piece…of either one of those things?!)
While Chocolat isn’t everyone’s cup of tea…or cocoa…it’s certainly mine. It has all the ingredients that produce an enjoyable movie: humor, drama, growth, warmth, family, music, magic…and a little dash of spice to top it all off!
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