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The public knows Taxi Driver for one cliché, the contaminated “You talking to me..etc, etc.” This somewhat comic line is honest one allotment of an immensely much performance by a young Robert DeNiro, whose role as panicked psychopath Travis Bickle makes this one of my all time accepted movies. Taxi Driver is a deep view into American society during the 1970′s, especially the dull slums of Modern York City. The fair confusion, the thirst for vigilantism, the outbreak of drug crime and the failure of the welfare site are all paraded by Martin Scorsese with damaging insight. Taxi Driver is not a violent vengeance narrative like Death Wish, but it is one of the most vicious and mighty message films ever made.
Travis Bickle hates so mighty because he sees so considerable. As a cab driver, he is forced to work the worst neighborhoods, where savagery is well-liked and law is non-existent. In addition, Travis is definitely unbalanced, with mood swings, insomnia, and a sugar habit. This combination wakes something up in Travis, a violent hunger for justice and civility in society. He feels trapped, he wants to do something, as he says. His attempts to ignore this run by entering into a relationship with a high-class political operative, played by the glowing Cybill Shepherd, fails. He slowly but surely descends into madness. Finally, he finds someone he can concentrate his energies on, a young prostitute played by Jodie Foster. As he learns more about the unpleasant girls past, he decides to embark on a opinion that will solve all their problems.
DeNiro should have won the Oscar that year, because his performance is something else. I cannot judge of another actor that could pull off the actual descent of paranoia that Bickle goes through convincingly. The cinematography is fabulous, with an oppressive and dank feeling of grime and decay. Scorsese lets the storyline earn naturally, shying away from any amazing twists and turns. The kill scene is, of course, astonishing in its ferocity and graphic nature. This DVD edition is a amazing intention to experience the movie, as its extras and the making of documentary are quality editions. Tremendous movie.
Directed by Martin Scorsese, one of the greatest films of the 20th Century. The narrative about a man drowning in loneliness that desperately seeks the approval of the social lives of those around him. He is Travis Bickle (Robert DeNiro), who (as the film opens) gets a job as a cabbie because of the insomnia he suffers of. He prefers working nights (12 hour shifts), will lift anyone anywhere, and smooth he can’t seem to sleep. His point-of-view is an ingenius cinematic come whereas it is viewed in slow-motion (which symbolizes his heightened observation) . There are so many undercurrents within the film that even Bickle himself doesn’t realize. There is an apparent prejudice against african-americans (the usual stereotype of them all being pimps or drug dealers – and ironically enough when Bickle finally does meet a pimp, he turns out to be white) .
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Bickle bides his time in a coffee shop where all the ‘night shift’ cabbies hang out. He listens to them ramble about imaginary women who give them $500 tips and their phone number to somewhere in South America. His attention wanders and his inability to socialize presents an awkward air that is at times difficult to contemplate.
Bickle eventually meets Betsy (Cybil Shepherd) who is an avid supporter of the presidential candidate Palantine. His conventional notion of the inhabitants of Original York as “scum” is finally changed when he meets a girl who “is not like the rest of them”. He asks her out to a movie and it turns out to be porn. He knew it was porn (he goes to the same theatre every night he’s off work), but he doesn’t go for the usual reason people go, he gets no satisfaction out of it, it is as if he’s punishing himself for having walked into such a state. He seems to not realize why she looks at him with disgust and eventually leaves and never wants to observe him again.
Bickle is a “walking contradiction” whereas he sees the world as despicable and unpleasant, but in his attempts at being current, he finds himself bending the rules of morality and becoming what he despises.
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He comes across a 12-year customary prostitute named, Iris (Jodie Foster), who he immediately likes, but the only device he can be advance her is to pay for “half an hour”. He does so, and despite her attempts to “beget it”, he tries to state her that he’s arrive to place her free from the life of prostitution. “Don’t you want to win out of here? ” he asks. “But it saves me from myself,” she answers innocently. He leaves frustrated.
Bickle is (like the John Wayne character in “The Searchers”) trying to rescue women who don’t want to be rescued. It becomes his obsession that these women are being oppressed and that his goal in life is to site them free.
His obsession leads to violence when he purchases weapons and attempts to slay Palantine, but runs away almost as if, at the last moment, coming to his senses. But that is only the “dress rehearsel” for the climax of the film which is one of the most graphic scenes of violence ever filmed. It is shot in ‘washed out’ colors as if the ensuing violence has drained the blood from the film.
The eminent line, “Are you talkin’ to me? Well I’m the only one here,” spoken to himself in a mirror, has been many times mimiced but the meaning can only be fully realized in this film. It is the shriek of a lonely man amidst the crowd, a vow of sarcasm at his possess worthless condition. The condition we all gather ourselves in from time to time.
The film ends with Bickle meeting Betsy one more time as he is driving her home in his cab (by a chance meeting) . Her peer has changed from one of disgust to admiration and the viewer senses that this scene is not genuine. That it is either his final dying thoughts or simply a fantasy in his mind. It is Bickle finally finding redemption, finally finding his state in society. It has all been resolved and now he can lead a normal life or die happily.
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