The Hamburg police arrest an international businessman, charging him with smuggling heroin from Pakistan. While he's on trial, his trophy wife, a former Olympic swimmer, discovers steely ...
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Jack returns to England utterly changed by his downbeat experience in Pakistan, with his career and family life in ruins as he is forced to resign his post, as well as struggle to help Caroline and ...
The Hamburg police arrest an international businessman, charging him with smuggling heroin from Pakistan. While he's on trial, his trophy wife, a former Olympic swimmer, discovers steely ruthlessness within herself. In Pakistan, the British home minister tours the poppy-eradication project and returns to London to find that his daughter is a heroin addict. While trying to save her, and helped by a crusading attorney, he learns the limits of government policy. Fazal, a peasant burned off his land where he farmed poppies, goes to Karachi and works for Tarik Butt, a murderous drug lord. Fazal's frankness and sense of worth are his strength and his liability. Stories cross and collide.Written by
TRAFFIK, though released 11 years before the over-rated Hollywood remake, is still far more insightful and relevant about the world of drug traffic. This despite the fact that the remake is heralded as a breakthrough in how people view the drug war. I saw the remake first, and after seeing this miniseries by distaste for the latter film grew considerably. It isn't just that it's twice as long and has that much more time to cover the issue, although that obviously helps. The dialogue is more efficient and powerful (compare Jack Lithgow's final speech to Douglas' drippy final speech). The scope is also far greater (the remake chooses to replace the story about the Pakistani farmer with the story of the Mexican cop... so we get more cops). The films handling of the Pakistani characters is affective and moving and doesn't have the naive gimicks of the remake's handling of the Mexican characters (the cinematography, for example). The film even had the guts to point out that Pakistani heroin traders get money from the American government to fight Russians (although I admit it's far less risky for a British production to make that case than it would be for a Hollywood production).
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