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Taxi Driver
Drama, Thriller
IMDB rating:
Martin Scorsese
Robert De Niro as Travis Bickle
Jodie Foster as Iris
Harvey Keitel as Sport
Leonard Harris as Charles Palantine
Peter Boyle as Wizard
Diahnne Abbott as Concession Girl
Frank Adu as Angry Black Man
Gino Ardito as Policeman at Rally
Victor Argo as Melio (as Vic Argo)
Garth Avery as Iris' Friend
Harry Cohn as Cabbie in Bellmore
Copper Cunningham as Hooker in Cab
Brenda Dickson as Soap Opera Woman
Harry Fischler as Dispatcher
Storyline: Travis Bickle is an ex-Marine and Vietnam War veteran living in New York City. As he suffers from insomnia, he spends his time working as a taxi driver at night, watching porn movies at seedy cinemas during the day, or thinking about how the world, New York in particular, has deteriorated into a cesspool. He's a loner who has strong opinions about what is right and wrong with mankind. For him, the one bright spot in New York humanity is Betsy, a worker on the presidential nomination campaign of Senator Charles Palatine. He becomes obsessed with her. After an incident with her, he believes he has to do whatever he needs to to make the world a better place in his opinion. One of his priorities is to be the savior for Iris, a twelve-year-old runaway and prostitute who he believes wants out of the profession and under the thumb of her pimp and lover Matthew.
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Dead end streets...
Travis Bickle is the sort of person you wouldn't even see if you encountered him on the street -- and if you did take note of him, you would make a point to ignore him. He is a non-entity. In his role as a cabbie, you would be aware of him only in the same way you would notice the color of the upholstery or be aware of a strange smell inside the cab. On the rare occasion that Travis might make his presence felt, you would tolerate his existence -- maybe even graciously acknowledge him with a smile or a noncommittal comment. You would only remember Travis if he said or did something particularly rude or offensive or bizarre; and then only as long as you might remember what you had for lunch or what your horoscope said.

There is no reason to remember, or to feel bad about not remembering, a Travis Bickle because he has no real effect on your life. He does a job, he fills a space; just like millions of other anonymous everyday workers. But the sad thing about Travis is that he has no real effect on anyone. Most people have a life -- family, friends, interests, a purpose beyond being part of the machinery. Travis only has a job. You would not notice Travis, but Travis might notice you. And judge you: He might decide that you are part of what makes life worth tolerating, but more likely he might see you as part of what makes the world an unbearable hell.

It is the nature of film that when it casts an eye toward the "little guy," the attempt is to show that the ordinary man has something extraordinary about him that society is missing -- even if that is just an everyday niceness. This being a Martin Scorsese film, written by Paul Schrader, filmmakers with a near-suicidal view of mankind, the point of TAXI DRIVER is just the opposite. If Travis Bickle is a remarkable person in any sense, it is in a negative way. Travis is not a good man; he is petty and mean-spirited and bigoted and self-absorbed and judgmental. He views the world with contempt; he has to, he has to have more hate for the world than he has for himself.

TAXI DRIVER is the story of a man living the proverbial life of quite desperation. In self-imposed isolation, Travis is mentally unstable, and probably was long before the film starts. The film supposedly is loosely based on THE SEARCHERS, but it has much more in common with PSYCHO. Travis, like Norman Bates hides his insanity behind a facade of banality and nurses it with his loneliness. Insignificant men with a significant amount of pent up anger. The main difference -- and it is a telling difference -- is that we don't see Norman's rage until the end, it takes us by surprise; while we never doubt that Travis has inner demons. What Travis does is a foregone conclusion.

Paul Schrader's dark, oppressive script pointedly refers to Travis as a walking contradiction, often at the cost of the story's credibility. He's not particularly bright and at times almost shockingly slow, but his journal entries are surprisingly articulate. He declares a woman to be "an angel," but is dismayed that she is offended by being taken to a porno film. He claims to have an honorable discharge from the marines, yet he seems to have been born yesterday, not even knowing the meaning of a common phrase like "moonlighting." Schrader's superficial screenplay is long on obscenities and racial slurs, but short on simple logic.

The shortcomings of the script are offset to a great degree by solid performances and Scorsese's stylish direction. As Travis, Robert DeNiro is in virtually every scene and even though the screenplay falters at various times, DeNiro holds the film together with a consistency of tone and insight. Forgoing his usual bombastic method posturing (during most of the film), DeNiro plays Travis with a compassion that makes this otherwise horrid little man pitiable, if not sympathetic. He makes us care for Travis, even though the story offers us no real reason to. Jodie Foster, playing the child prostitute to whom Travis hopes to play savior, still has the youthful freshness and wise innocence that made her a treasure as a child actress. (Though I have trouble respecting Scorsese for casting a 13-year-old child, even one as mature and worldly as Foster, in a part that is so squalid and degrading.)

Scorsese sees in Travis' New York City a teeming cesspool, but with cinematographer Michael Chapman, he makes it the most photogenic cesspool imaginable. He doesn't romanticize New York, but he does romanticize Travis' seething hatred of the city. However, he does wisely counterpoint Travis grubby view of the world with a sense of a real world, where friends and coworkers joke and talk and, well, exist. Unlike RAGING BULL, GOODFELLAS and CASINO, Scorsese films where psychotic characters exist in closed worlds where their lunatic behavior seems the norm, TAXI DRIVER underscores Travis' outsider status by giving us a realistic world that he is isolated from. As such, TAXI DRIVER has an honesty that his other violent epics lack.

But Scorsese provides us with at least two scenes that ring utterly false. His own gratuitous cameo as a passenger graphically boasting of his plans to murder his wife seems to be Scorsese's way of showing that there are people who are even crazier than Travis. Why? To suggest that Travis is justified in his paranoia? Also the final climatic bloodbath provided only a cheap shock at the time and now seems like a tiresome cliché of special effects gore. Such over the top mayhem doesn't underscore the brutality of the violence, it trivializes the rest of the film. TAXI DRIVER, like DeNiro's performances, is best in its still moments of quiet desperation.

The irony of the violence is that it eventually makes Travis famous, though it could have just as easily have made him infamous. The bullets that kill the pimp could have killed the politician. In Travis' mind they are pretty much the same. Unfortunately, I don't think some people get that. Travis, in the end, is not a hero, he is a murder. He is not purged of his demons; they are just temporarily placated. The famed "you talking' to me?" scene has reached iconic status, symbolic of tough-guy cool -- not unlike Dirty Harry's "Make my day." But both Travis and Harry are dangerous icons; filmgoers delude themselves into accepting their insane displays of violence because the right make-believe characters get killed. They are protected by the fantasy of film; in the real world they would eventually be revealed to be the monsters. To his credit, Scorsese at least suggests that in the end Travis Bickle is still insane, and armed and dangerous. Even so, the ending is uncomfortably ambiguous: I don't think that Scorsese is as afraid of Travis' insanity as he is in awe of it.
Notes from Above Ground.
Somewhere in the shadows of the night, hidden within the restraints of his taxicab, a lonely man watches with disgust. His eyes survey the streets with all the malice and passion of a burning fire, his large pupils an open doorway leading into his soul. The demons haunt him; voices in his head convince him that the world is closing in and the only way out is through some form of moral redemption; a physical and emotional catharsis.

The stranger's name is Travis Bickle and he is God's Lonely Man: a discharged Vietnam veteran who wanders the streets at night in a permanent state of confusion and self-loathing.

Travis takes a job as a cab driver to keep out of the porn theaters that have been occupying his time – deciding he might as well get paid for roaming since he does it anyway.

But Travis' filtered input and odd output seems to suggest something is dreadfully wrong. The mild insanity of our protagonist begins to escalate. He approaches an attractive political campaign adviser, Betsy (Cybill Shepherd), and asks her out to dinner. She agrees, but the date is cut short when Travis takes her to an X-rated film.

Travis soon meets a young underage prostitute named Iris (a fourteen-year-old Jodie Foster), whom he feels a desire – nay, a need -- to rescue from slavery. Iris' pimp, Sport (Harvey Keitel), becomes another of Travis' demons.

Taxi Driver was released in 1976 to split praise. Some critics hailed it as a masterpiece, whilst others were a great deal more reserved in their accolade. In Newsweek, Jack Kroll wrote "(…) in their eagerness to establish rich and moral ambiguities, the Catholic Scorsese and the Calvinist Schrader have flubbed their ending. It's meant to slay you with irony, but it's simply incredible." Some critics just hated the film in general and felt the entire runtime was a mess of pretentious storytelling and depressing, gritty themes.

Depressing? Yes. Gritty? Yes. Brilliant? Most definitely. Scorsese does not merely address Travis as a character; he puts us inside his head. And even so, there are instances of abnormality in Scorsese's camera work that suggest paranoia and schizophrenia; moments of displaced subjectivity in which we are neither looking quite through the eyes of Travis nor through those around him, but more at length to his side…yet it seems that his body (primarily his hands) are below us, at the side of the frame, indicating an altered version of the traditional P.O.V.

Scorsese's movie is structured using diverse narrative elements – one of the most prominent being dramatic irony rooted in Greek tragedy (in this case, many set-up and pay-off moments). When Travis exits the brothel for the first time, a Mafioso figure says, "Come back any time." Travis responds, "I will." We know he will, too, and when he does, that's the pay-off.

Above all else the film is rooted in the basic existentialism philosophies of Berdyaev, Heidegger and Nietzsche. Scorsese later admitted this his toying of genres and philosophy was entirely incidental ("It just felt right…") but one can't help but imagine Schrader may have been influenced by Fyodor Dostoevsky's Notes from the Underground, in which our narrator begins, "I am a sick man…I am a spiteful man." This brings to mind the scene in which Bickle dictates his journal entries to us and delivers an ultimatum to the "filth" on the streets, preceded by senseless introspective rambling.

Moving on, the ultimate puzzle of the film: Does our hero live or die? After Travis is shot in the climactic battle, he lies on a sofa, presumably dying, and makes a gesture with his fingers, pretending to shoot himself in the head. The camera pulls up, overhead, and exits the brothel. It then pulls back across the street and up into the heavens, surveying the crowd below.

In the next scene, Travis is alive and well, presented to the world as a hero through the media. Yet as Travis pulls away from the curb at the end of the film, Herrman's familiar four notes (the same ones as used for the final shot of Psycho, implemented when Norman Bates' lack of absolute sanity is finally revealed) come into play. A bell rings. Travis looks in his rearview mirror, as if maybe something caught his eye… And then, suddenly, the movie ends.

Taxi Driver's ending cannot be resolved further more than conjecture and opinion. Scorsese himself says on the DVD making-of documentary that he believes the ending is open for analysis. Did Travis live? Did he die? Are the demons on the street still haunting him? Are we meant to sympathize with him and believe he is a hero, or are we meant to refuse him as one? (Or is this our natural reaction against Scorsese's own wishes -- which would explain the negative reviews in '76?)

But it is ultimately the haunting image of Bickle drifting through the endless hordes of nameless people on the streets of Manhattan that lingers with us after the film has ended, and remains the most prescient today. How effortlessly this man can disappear into the multitudes – God's Lonely Man once again alone, alienated and betrayed by the world he has come to loathe. That, above all else, is the most poignant aspect of Taxi Driver.
Best Scorsese-De Niro film
"Taxi driver" is not only one the greatest films of the Seventies, it's also the best Scorsese & De Niro production.

A Vietnam veteran, now a New York taxi driver, lives in a nightmarish loneliness. The meeting with a baby prostitute and the will of rescuing her will give him a new aim.

The movie is dramatic and passionate. It's a story of an anti-hero who wants to save another anti-heroin. Also when he tries to court another woman (Cybill Shepherd) the result is a complete disaster (look at the scenes...!), it's impossible for him to enter a "normal" world. There's an anguish sense through all the movie, underlined by Bernard Herrman score. Definitely "Taxi driver" is the momentum of the "nouvelle vague" in Hollywood movies. Actually the Seventies were the only time when big studios really allowed independent directors to do their own films. Now these two worlds are more separated than before.

This film won the "Palme d'or" at Cannes Film festival in 1976, and brought chance to Scorsese, Jodie Foster, Harvey Keitel and (of course) Robert De Niro -the same year he made Bernardo Bertolucci's "Novecento", the year before he won an Oscar for "The Godfather part II".
Scorsese, Schrader, and De Niro combine to deliver a masterpiece
In Taxi Driver Scorsese gives us a deep character study of a lonely man, "God's lonely man" if we're to believe our narrator Travis Bickle (De Niro). Travis is a Vietnam veteran who takes a job as a taxi driver at night in New York because he can't sleep. He cruises around New York looking for a fare and constantly finds himself drawn to the seediest parts of the city, despite his hatred of everything these places stand for and the people who live and make their living there. Right from the start we have an idea of where Travis is going from when his cab emerges from the white smoke of hellfire. Not literally of course but there is plenty of similar imagery throughout from the overhead view of the guns that the dealer lays out on the bed like a priest looking down at the altar to when Travis holds his clenched fist above the gas fire stove. Like all of Scorsese's greatest films Taxi Driver is imbued with ideas of religion and guilt.

There is little plot to this film but that is unimportant, real life has no plot. Taxi Driver is about character and the character of Travis Bickle is so frighteningly real that he is captivating throughout. This is a man who fails to connect with those around him on almost any level, his date with the beautiful, idyllic, Betsy (Cybill Shepherd) goes disastrously wrong and there is even a lack of camaraderie between him and his fellow taxi drivers who are the closest thing he has to friends. And yet Scorsese makes him fascinating to watch, of course De Niro is great here and how he manages to get us to empathise with Travis is no small feat.

This is a film that I could watch again and again, and I surely will, it is a classic. The way Scorsese shoots the film, New York has never looked so gritty and Herrmann's accompanying score is fantastic, the only shame being that this was his final work. Films like this just do not get made any more.
You'll love the mood.. but is the ending worth 2 hours of build up?
A nicely made dark and majestic experience, see the world through the eyes of a weird taxi driver, as his character progresses from a total embarrassment to a mad dog. The movie sends a clear message about society and human ego, and how a man's pride can drift him into insanity.

The mood is nice, a prime example on a classic Noir movie, it builds up and prepares you mentally for the big ending.. an ending that failed to live up to the hype that the movie has built in you.. though it had a short yet exciting action scene the ending is pretty simple and is more about delivering a simple message rather than leaving you amazed or satisfied.

The dark comedy in the movie is pretty clear, it shows you how messed up society really is, the movie was executed flawlessly when it comes to cinematic and production, but it will disappoint you at the very end, the ending was just too "MEH" to bear, especially after an excellent build of events preceding it, such a pity.

I'm sure the movie was a big hit at the time of its release (after the Vietnam war), but I'm not sure it would be enjoyed the same at our current time, so let me put it this way: - If you enjoy a dark Noir mood with nice character development then watch it now. - If you enjoy movies with subliminal messages then add this one to your "watch when I have nothing else to watch" list. - If you're looking for a great story with a nice twist to it, I wouldn't recommend Taxi Driver.
As relevant today as it was 30 years ago
Comments written in 2005 on Taxi Driver will doubtless take into consideration things like De Niro winning an Oscar four years later with "Raging Bull", Scorsese still haven't had any luck with Oscar (he wasn't even nominated for Taxi Driver), Foster's rose to stardom, etc, etc. And yet, as one critic puts it, even today, the only thing about Taxi Driver that is out-of-date is the fashion.

My immediate association of Travis Bickle (the New York taxi driver immortalized by De Niro) is with Paul Kersey, played by Charles Bronson in "Death Wish" (1974). But then, these two are in fact very different types of vigilante. Kersey's action is driven by a personal tragedy and it's very clear in his mind what he is doing. Bickle, as one critic puts it, is "certifiably insane". But then, he is also clear about what he is doing, but in a different way.

I can't remember who said that the mind of a mad man is just like the mind of a child (maybe nobody said it). When Bickle, after winning a favorable reaction from his blond goddess Betsy (Cybill Shepherd), blunders by taking her to a porn movie, his apology is as sincere as a 10-year-old boy's who has accidentally broken a neighbor's window with a baseball. This one layer of Bickle's mind, this innocence, is always there, even when it is subordinated to his absolute detestation of the "scum" of New York that finally drives him to become a psychotic. So much have been said about the urban alienation, the inability to relate etc, etc, of this character. The deepest impression in my mind from De Niro's portrayal, however, is his childlike innocence.
Taxi Driver interprets Shakespeare
THE SICILIAN CONNECTION Taxi Driver and The Winter's Tale What follows comes from work in progress on how Scorsese's movie may cast light on Shakespeare's play.

At the end of Pasolini's film of Œdipus Rex the blind king walks out of his world into the streets of modern Bologna. If Leontes, King of the Sicilians,went missing, where would he reappear? The hero of Taxi Driver turns up in modern New York of 1976, as if out of nowhere, or maybe one of his own bad daydreams. He's looking for a job to suit an insomniac. Like the Great Gatsby, Travis Bickle seems to be be born of his vision of himself, and this casts doubt on the substance of both self and vision.

He gets a job driving a yellow cab. Then he falls for Betsy, a girl with class Then he goes out of his way to foul up by taking her to a blue movie. There, his attention is soon distracted from the real woman at his side . Betsy checks out in disgust. Later he calls her on the phone, but you can't tell whether there's really anyone at the other end. So his thoughts turn to 'saving' Iris, a twelve-year-old hooker who has also come out of nowhere, into his cab. Taxi Driver is set firmly in the eponymous mean streets of an earlier Scorsese movie, and before that, of The Godfather, the daddy of them all. Travis now has to kill some bad people, one of them Iris= trick, a Mafioso. Travis has already killed her pimp Matthew, or Sport - almost twice. In the street outside the tenement where she trades he shoots Sport in the belly before going inside to continue his righteous massacre. The pimp reappears in the hallway, alive and armed, and has to be gunned down again, as if to get it right. But Iris is saved, Betsy forgives Travis now that he=s a hero, and Travis survives. Or does he? Do they? Does any of it happen at all? Can such questions be asked of a work of fiction? In Taxi Driver the narrative viewpoint seems clear. The film opens and closes on Travis' brooding eyes. Intermittently he gives a running commentary in voice-over, which turns out to be the journal he keeps. Sometimes the screen shows things that appear to happen independently, without his knowledge. So these events seem to be 'real'. But they decrease in credibility. Travis sits in his taxi outside a building inside which a tender scene takes place between Iris and her pimp. And now Sport says: Come to me, baby, and he puts a record on the phonograph. He tells her: I'd like every man in the world to know what it is to be loved by you. Inadvertent humour can't get much bleaker. But whose joke is this? Travis buys a suitcaseful of artillery. He practises quick draws in the mirror. Sometimes he packs two guns, but he (as distinct from his reflection) is right-handed. Especially with his star weapon, a forty four magnum. In due course he uses it to shoot off some of the fingers of Iris' 'timekeeper'. Strangely, this has earlier and out of his hearing been described as a typical Mob punishment. Then, in reverse shot, we see the gun in Travis' left hand. He goes on to finish killing the pimp, the mobster and the timekeeper. And then himself - a death he has clearly intended or expected - except that now he=s all out of bullets. So he pretends. He points a finger at his own temple. It lets fall a single drop of blood. He gives a death=s head grin. His thumb works an invisible hammer. Bang, I'm dead.

Afterwards he gets police commendations, glowing press reports and grateful notes in what looks like his own handwriting. He loses the scar where a bullet creased him in the neck He grows back his hair, which he'd shaved to a Mohican crest. Finally exalted to a realm above human love and desire, Travis can patronise Betsy, who wistfully seeks him out, but can't get to him now. He's gone through the looking glass. Taxi Driver is perhaps the most chilling representation of psychic death ever to reach a universal audience. The question is: what sort of representation? In a Steinberg cartoon the subject, pencil in hand,is shown completing the picture which is himself. That picture is another of those 'impossible' objects which is possible because there it is. The work of art has become its own creator.

It's been said that a work of art goes about the world independently of its author's power to intend about it. In Taxi Driver it's as if the film itself has decided to dispense with the conventional markers that distinguish between what's 'really' happening and what's inside the hero's mind.

Such a work enacts the idea that all events, including events 'in the real world' are events in the consciousness; may only be events in the consciousness. We create the world, as they say, from moment to moment as we go along. If our dreams are allegories of the way we experience this world, then by extension our waking perception may be the same; except that it has to adjust itself - from moment to moment as we go along.

The movie screen, arena of the 'dream factory', is the obvious place to see this happening. So is the theatre. Shakespeare's The Winter's Tale is like a still, a tableau which suddenly comes to life out of a sort of Arcadian trance as in the Book of Genesis; and as in Genesis, with the touch of the serpent's tooth. It shows a man in torment because he's recreated the world as the hell in his own mind. A hell which he has to exorcise in blood. To understand Shakespeare's great work you could do worse than read it through the eyes of Taxi Driver.
Scorsese's first masterpiece
Taxi Driver is incredible. Every time I watch it I become more and more engrossed with the story and the acting. One of the rare films that grows more enjoyable after every viewing. The film seems to have been done on a small budget but it's perfect for what the script suggests. Robert De Niro in one of his best roles ever earned an Academy Award nomination for Best Actor, one that he should have won. Martin Scorsese did a fine job not only in directing, but also in selecting the perfect cast. Future stars Jodie Foster and Harvey Keitel are just two of the many in the amazing supporting cast. Everything in this film is just right, watch it if you haven't already, or even if you have!
The Most Organ-azized Drama Ever
Taxi Driver is an American drama directed by Martin Scorsese and written by Paul Schrader inspired from 1956 John Ford film 'The Searchers'. The screenplay is crafted so artistically by Paul showcasing a raw, nerve- wrecking and powerful look at depression and solitude. The film has the capability to become an altogether successful venture when the actor-director synergy can make astonishing wonders happen. De Niro and Scorsese happen to be one such example. The collaboration between these two has given us some of the really extravagant films. The movie starts with a Taxi moving in a slow motion as it leaves a foggy smoke behind as credit starts appearing in the cloud of smoke giving a more artistic feel to the beginning of the movie. Travis Bickle an ex-Marine officer suffering from chronic insomnia returns to Manhattan, New York after the Vietnam War. A person having no real life experience in flesh-and-blood human relationships gets alienated in the city of aflame and enthusiastic people. Travis takes up a job as a taxi driver on a night duty travelling around the city watching the night- life and prowlers that rule the streets of NY after nightfall. He is a person who tries to mimic the interactions he sees on the streets and goes horribly wrong, watches dirty movie in a porno theater, falls for a girl working in the Senator Palantine's campaign, takes her for a porn movie making her feel awkward and terribly angry. His small acts highlight his lack of human touch and his unstable mind. The director had pivoted the confused notions of the protagonist successfully as the audience was meant to assume him to be a psycho. Travis in the latter half of the movie, fails in repeated attempts to get his love back and finally makes up his mind to assassinate the Senator only to flaunt his prejudice. After a failed Palantine assassination, Travis freeds himself from frustration as he guns down three men who he holds responsible for corrupting a girl's youth in a brothel to rescue a 12 year old prostitute named Iris in an unsurpassed bloodbath. Scorsese proved himself a creative genius through Taxi driver. Only part remains undisclosed in movie is the reason Iris chose to run away from home only to become a prostitute at an age where she ought to be going to school, giving an uneasy feeling to the viewers. Like all the Scorsese directed films, redemption is the soul of the film. The audience, terrified and overwhelmed by urban crime will readily respond to any film about heroic vigilantism in future. Courtesy: Martin Scorsese. The review title pertaining to a stupidly cracked joke by Travis in the film, the drama is one of the most organized and a soulful drama made in the history of Hollywood.
one of these days i'm gonna get organiz-ized
i can't believe i waited this long to finally watch this classic.this is one brilliant film.De Niro is excellent as the title character AKA Travis Bickel.Martin Scorsese directed this masterpiece.i don't wanna to oversell this film,but it's something else.i'm not gonna give any of the plot away,because i think any way who goes into this should view it without any preconceived notions.DE Niro is brilliant here,that much i'll say.i also loved the look of the film,the style,the's currently #39 on the top 250 here on this site,but i'd probably even rate it higher than that.if you haven't seen it,i would highly recommend it.for me,Taxi Driver is a 10/10
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