Starring Manoj Bajpayee and Jimmy Shergill, The movie ‘TRAFFIC’ remained at the verge of expectations. The story of the movie could not make it upto the level as it appeared to be very low paced one. The story depicts the zeal of the suspended constable (Manoj Bajpayee) to save a girl child by reaching her with a new heart through Mumbai Pune highway in 150 minutes. After convincing the Traffic Commissioner (Jimmy Shergill), Manoj Bajpayee gets this responsibility to do this difficult yet possible task. Cast consists of many more actors like (Vishal Singh) as a young journalist, (Prosenjit Chatterjee) as a superstar, (Parambrata Chatterjee) as a doctor. The movie did not hold any major melody except a slow emotional background score. In a nutshell, The movie needed pace and expressions which could have made viewers more close to it. The film could be a far better one with developed editing and a bit nice pace. The actors should have been stricter on their roles. We hope for the better performance in any other remake or so. Especially from Manoj sir.

Rajesh Pillai’s film, based on a real-life incident, is about people who meet due to tragedies in their lives. An accident intertwines their fates and the movie traces their journey towards saving one. The cast has delivered a stellar performance. Suresh Nair, who adapted the Malayalam screenplay for the Hindi movie, has kept the script tight and narrative gripping. The build-up to the road mission to transport a heart sets the premise for all the characters and tells us about their lives. This portion drags at times but some good acting ensures we are not distracted. You’d think covering 160 kilometres between Mumbai and Pune in peak traffic in two hours to transport a heart is too ambitious a project. But the traffic police managed a similar task in 2008 when they transported a heart from Chennai to Bengaluru for a transplant in record time. Traffic does not preach or boast but it touches hearts. Watch it for the emotional connect, and of course, the wonderful performances.

Traffic deals with the themes of loss, grief, betrayal, hope, second chances and redemption with impressive efficacy and lightness of touch. Inspired by a real-life incident that occurred in Chennai in June 2008, the film stages a dramatic race against the clock undertaken by doctors and traffic policemen to save the life of a child. The 105-minute Traffic plays out like a thriller, with each second that elapses invoking the ticking of a real clock. Traffic is made doubly riveting by an eclectic bunch of fine actors led by Manoj Bajpayee in the role of Ramdas Godbole, a traffic constable suspended from service for accepting a bribe. The writing department gets all its lines right. The screenplay by Bobby and Sanjay has been adapted into Hindi by Suresh Nair. Dialogue writers Piyush Mishra and Prashant Pandey ensure that nothing is lost in translation. raffic is entirely content-driven. Its gallery of principal characters, each of whom has reason to seek redemption, are etched out with care and empathy. At the heart of the film is the discredited traffic constable who volunteers to drive the dead man's heart to Pune in two-and-a-half hours. The storyline does have minor gaps and a strong dose of contrivances, but the direction and the acting ensure that they do not derail the film. Traffic, both the original and its Hindi version, will forever bear testimony to the magnitude of the loss that Pillai's untimely death represents for cinema. This is a fitting swan song: an unmissable film.

In Traffic, practicality and sentiment not only co-exist but collaborate to fulfill a higher purpose of saving lives.Through its multiple narrative threads that convene at a crucial juncture in the vein of Alejandro González Iñárritu’s 21 Grams and Amores Perros, director Rajesh Pillai, who passed away due to a liver ailment in February, aspires to tell a human story with elements of a thriller. Despite its 104 minutes running time, Traffic is muddled and lacklustre in its set-up. Its crowded scenario feels even more tedious around monotonous acting and hackneyed characterisation. Traffic doesn’t have people but causes to care for. Besides advocating organ donation, it also pitches in the ineffectuality of religious differences when health is concerned through its model depiction of the Hindu-Muslim chord. At the same time, it’s also a bitter reminder of how medical aid is a privilege only a few can avail at the cost of reckless driving and inconvenienced public. Traffic doesn’t address its ethics or anything profound. It doesn’t aspire to be anything beyond a bumpy ride to half-hearted glory. And in that it is entirely successful.