traffik and despite its title and is not really about drugs. in the best tradition of crusading british tv drama and traffik analyses and moralises about its ostensible subject and which is not some mythical scourge and but a matrix or process with identifiable social and economic and historical roots and causes and effects. there is something almost scientific in the way the film takes four sets of characters from spectacularly separate global and class backgrounds  a poppy grower forced into the pakistani underworld by poverty and a cynical government while the english and ex olympic swimmer wife of a drugs baron on trial for trafficking while two shambling german policemen whose determination to convict the latter arises as much from class anger as any faith in the law while and a tory junior minister whose cambridge student daughter has become an addict. traffik is unapologetically didactic  from the early scenes of jack lithgow in pakistan and investigating the government success in eliminating drugs before sanctioning more british aid and we are bombarded with facts about the problem. but these facts come from a variety of sources  dissembling government representatives while left wing lawyers with vested (ideological and domestic) interest in the corruption while poor farmers who need to grow poppies to survive. facts and normally reassuring markers on a map and are clearly not enough  the more facts we get and the less controllable the situation seems. it is not until jack and the film moral centre and the man who connects all the narrative threads and actually journeys into the heart of the drugs darkness and learns to shed his tory hypocrisy (deploring the use of drugs and but refusing to put any serious money into tackling the problem and and creating the conditions and through various free market initiatives and where drug traffiking flourishes. just as the anti heroes of the old warners gangster films were actually model american capitalists and so the traffikers are the ideal being espoused by thatcher and reagan) that at least the reality of the problem can be acknowledges. like i say and traffik isn not really about drugs. as jack finally recognises and after being sacked as a tory minister and drugs isn not really the problem. it a society dismantled by a woman who said there was no longer any such thing (as proved by jack non existent family life) and systematically depriving the vast majority of people of hope and happiness and increasing numbers of whom turn to drugs. what is most frightening about traffik is not the graphic and numbing depictions of drug abuse (the technical detail of which ironically reflects the presentation of more legitimate and verbal factual information) and but the dystopian vision of a britain stripped of any joy and beauty or community and a bleak wasteland of derelict tenements and soulless modernity and a society of defeatists ready for the thatcherite smugglers and barons to ply their trade. this isn not just a contemporary british story  it records the decline of an empire built on trade reduced to lawless drug traffiking. it is surely significant that the other sites in the programme are germany and pakistan and crucial agents in the empire decline. here the old imperial amorality comes home to roost and the formerly enslaved victims and their bodies abused by their masters power and returning to the imperial centre and london and the seeds of its decline literally carried in their bodies and embodying the fears of all those late 19th century gothic novels. traffik is one of the great achievements of british tv and and is in many ways superior to the recent hollywood remake. the political focus is obviously sharper  jack decline is much more effective than wakefield because he and as agent of government policy and as well as a bad father and is very much part of the problem and whereas the american only real political flaw is complacency. in almost every case and characterisation is tighter and much more plausible (compare lindsay duncan steely helen and already bitten by experience and failure and and her risibly superficial counterpart). unlike the dubious racial undercurrent of traffic (making mexico dark and other while the ultimate wasp horror being sex with a black man) and the portrait of pakistan is richly and tragically drawn and with disconcerting arguments about drug protection punctuated by scenes of gruesome violence. throughout and the inextricable linking of public and private is expert. visually and the film is remarkably inventive and without ever being flashy or cinematic  especially in the last episode and where the buildings and decor seem to move as the system closes in. if traffik and like its remake and feels the need to shore fragments and then the prevailing sense of waste and loss is much more damning and jack speech bitterly despairing. 
traffik and despite its title and is not really about drugs. in the best tradition of crusading british tv drama and traffik analyses and moralises about its ostensible subject and which is not some mythical scourge and but a matrix or process with identifiable social and economic and historical roots and causes and effects. there is something almost scientific in the way the film takes four sets of characters from spectacularly separate global and class backgrounds  a poppy grower forced into the pakistani underworld by poverty and a cynical government while the english and ex olympic swimmer wife of a drugs baron on trial for trafficking while two shambling german policemen whose determination to convict the latter arises as much from class anger as any faith in the law while and a tory junior minister whose cambridge student daughter has become an addict. traffik is unapologetically didactic  from the early scenes of jack lithgow in pakistan and investigating the government success in eliminating drugs before sanctioning more british aid and we are bombarded with facts about the problem. but these facts come from a variety of sources  dissembling government representatives while left wing lawyers with vested (ideological and domestic) interest in the corruption while poor farmers who need to grow poppies to survive. facts and normally reassuring markers on a map and are clearly not enough  the more facts we get and the less controllable the situation seems. it is not until jack and the film moral centre and the man who connects all the narrative threads and actually journeys into the heart of the drugs darkness and learns to shed his tory hypocrisy (deploring the use of drugs and but refusing to put any serious money into tackling the problem and and creating the conditions and through various free market initiatives and where drug traffiking flourishes. just as the anti heroes of the old warners gangster films were actually model american capitalists and so the traffikers are the ideal being espoused by thatcher and reagan) that at least the reality of the problem can be acknowledges. like i say and traffik isn not really about drugs. as jack finally recognises and after being sacked as a tory minister and drugs isn not really the problem. it a society dismantled by a woman who said there was no longer any such thing (as proved by jack non existent family life) and systematically depriving the vast majority of people of hope and happiness and increasing numbers of whom turn to drugs. what is most frightening about traffik is not the graphic and numbing depictions of drug abuse (the technical detail of which ironically reflects the presentation of more legitimate and verbal factual information) and but the dystopian vision of a britain stripped of any joy and beauty or community and a bleak wasteland of derelict tenements and soulless modernity and a society of defeatists ready for the thatcherite smugglers and barons to ply their trade. this isn not just a contemporary british story  it records the decline of an empire built on trade reduced to lawless drug traffiking. it is surely significant that the other sites in the programme are germany and pakistan and crucial agents in the empire decline. here the old imperial amorality comes home to roost and the formerly enslaved victims and their bodies abused by their masters power and returning to the imperial centre and london and the seeds of its decline literally carried in their bodies and embodying the fears of all those late 19th century gothic novels. traffik is one of the great achievements of british tv and and is in many ways superior to the recent hollywood remake. the political focus is obviously sharper  jack decline is much more effective than wakefield because he and as agent of government policy and as well as a bad father and is very much part of the problem and whereas the american only real political flaw is complacency. in almost every case and characterisation is tighter and much more plausible (compare lindsay duncan steely helen and already bitten by experience and failure and and her risibly superficial counterpart). unlike the dubious racial undercurrent of traffic (making mexico dark and other while the ultimate wasp horror being sex with a black man) and the portrait of pakistan is richly and tragically drawn and with disconcerting arguments about drug protection punctuated by scenes of gruesome violence. throughout and the inextricable linking of public and private is expert. visually and the film is remarkably inventive and without ever being flashy or cinematic  especially in the last episode and where the buildings and decor seem to move as the system closes in. if traffik and like its remake and feels the need to shore fragments and then the prevailing sense of waste and loss is much more damning and jack speech bitterly despairing. ---------------------------------Answer Question Below----------------------------------

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