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Drama, Thriller
IMDB rating:
Martin Scorsese


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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
Taxi Driver 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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Martin Scorsese's masterpiece.
It's a beautiful and violent story that talk about a lonely man, Travis Bickle,and the city where he lives in.Driving by night, the protagonist meets the strangest people in the world. He hates New York because he think it's a dirty city with bad people. But at the end of the film he saves a 12 years old prostitute and kill her pimps, so he becomes a hero. The story, that is written by Paul Schrader, is full of violence, and bad words but at the same time it is also sad and a bit romantic. Robert De Niro is fantastic and Bernard Herrmann's music is good too. Taxi driver is one of the most beautiful films in the history of the cinema.
The Ultimate Cowboy movie
Travis is a nowhere man, an angel with a clear conscience. He feels that the city is a very dirty place and could do with a thorough cleaning up, flushing all the thrash down the toilet. He feels nauseated and can't sleep at night. He wants to do what is right, he wants to do his part. He wants to help others that seem to carry the same impulse but are trapped victims of a modern age throwing its energy in the wrong directions. there is an echoing in this film that makes it clear that you are not the job you are employed to do. Here is a man who stands up and says 'NO' to all the bullshit. Here is......Here is a one man revolution crescendo. He feels he is on a mission. He feels that one must not dedicate his life to morbid self attention. A man waiting for a change, suddenly there is change, he makes it. Many will agree with me that this film is one tight masterpiece. Great chemistry between Director Martin Scorcese and actor Robert De Niro who after this film remained famous until now for his tough quote in the film "You talking to me? Are You Talking to me?........" Great script, great direction of photography, great cast and acting, great soundtrack, all very tightly fixed together. Superb direction! In my opinion this is definitely and almost undiscussably Scorcese's greatest of his greatest piece of work. I love how a secretary working in a voting office for a political candidate with another clerk parallels with the relationship between a sedated hooker and her pimps to say the least. This is the stuff that makes Travis feel all the more and more sick and he realizes it. He must do something, he sees these women as angels, good people like himself and he does not want the scum to touch them. As great as the crescendo is in this film, so is the dissolving, the relief at the end parallel to a fizz in his drink earlier in the film, a detail many fail to notice. Every detail has parallels in this film that are very necessary. However, whether you watch this film under a microscope like i did more than once or twice or simply at face value, as a film lover one would not fail to recognize even through its sheer feeling of suspense, that this is a great classic quality movie. Film making at its best. The ultimate cowboy movie. Very unconventional.
A story about a lonely man
Taxi Driver is one of the best films ever made. This is one of those films that you do not get tired of seeing and every time you watch it you realize a little detail that you have not seen before. Excellent actors, a good director, an impressive soundtrack and a real story are the main appeals of this film.

This film is about loneliness, about the isolation of a man in a society full of scum. His objective is to finish with the scum of the streets. The story uses a taxi driver as a metaphor of loneliness and it has some kind of irony because we can see that a city which is full of people can be the most lonely place for a man. The long nights in the city, the night environment full of whores, junkies, pimps and thieves are the main elements of the world in which Travis Bickle lives. Travis is an misunderstood guy who is seeking desperately for some kind of company because as he says 'loneliness has followed me all my life, everywhere' but at the same time he seems not to do anything to avoid his situation and it is seen when he goes with Betsy (Cybill Shepherd) to a porn cinema. At the end of the film the character makes real his most violent fantasies, with a look of certain soldiers from Vietnam, and he behaves like this because of his loneliness, his alienation and because he does not find any sense to his life. The violent behaviour becomes Travis into a hero, although he had killed many people and he could do it again. Although he acts with an extreme violence the spectator understand him and the reasons why he acts that way. The soundtrack of the film, which is composed by Bernard Herrmann, inspires some kind of loneliness and sometimes it is absolutely terrifying like in a horror film. This music and the slow camera showing the streets help to introduce the spectator into the world of Travis, to know what he is thinking about.

In general I cannot say any negative aspect of this film because I have not found anything bad. Although it is a film of the 70s it is not an old-fashioned movie because the essence of the story, the reality that is shown on it, can be perfectly referred to the current society. This film has the privilege of having made famous the sentence ‘You talking' to me? You talking' to me?' which will remain in the history of cinema. This is an authentic masterpiece.
Urban Anomi.
A truly disturbing movie. Travis Bickle (Robert DeNiro), great name, falls into a mood of brooding, amorphous rage and is frustrated in his attempts to murder a politician. So he wipes out a couple of low-life pimps instead.

The story tracks him through his descent into insanity. Interesting folks are encountered along the way but have less impact than rubber bumpers have on a pinball. Cybill Shepherd and Peter Boyle, for instance. Boyle is one of a handful of taxi drivers, like DeNiro, who gather at a certain café to shoot the breeze on breaks. He's particularly funny in his working-class disinclination to think things through. "Them queers" have to get married and divorced in California, he says wonderingly. I saw this in the Castro Theater in San Francisco and the audience erupted in laughter. When DeNiro asks for advice and gets nonsense in response, Boyle asks, "What do you want, Bertrand Russell?"

The film is unusual for Martin Scorsese. His most successful work has been with solidary groups, like small time hoods and the Mafia, in which there is an agreed-upon set of rules, and everyone knows everyone else. This one digs into urban anomie. "Anomi" is a concept developed by the French sociologist Emile Durkheim and it means, essentially, "without rules." It's the kind of thing you experience when you drive into a vast strip mall parking lot and all the yellow lines guiding traffic have been erased. What do I do NOW, Ma?

Scorsese is examining a social world that, as an Italian Catholic, he really has had little contact with. The film was written by Paul Schrader who, as an ex-Calvinist, is a little more familiar with this sort of ontological anxiety. It crops up in the production design. When DeNiro makes his unfulfilling meeting with Jody Foster, the twelve-year-old whore, it collapses in misunderstanding but in the background there are a multitude of Catholic candles. The climactic scene has a voice reading a letter to DeNiro from Foster's square Midwestern parents, congratulating him for an act that was ancillary to his own agenda, which was evidently to bring the world down around his ears.

A film of the 1970s, it resonates less with audiences today. The racial troubles that were so headline-grabbing at the time show up less often in the news today. Not that the problem of race is solved, but the categorical thinking that divided us into two warring tribes has less relevance. The resentment simmers but has been cut off at the ankles, partly by our recent election of an African-American to the highest office in the nation. At the same time we have to admit that, as a nation, we are pustular with hatred for each other and for other countries that may not behave the way we want them to. Our leading presidential candidate has made it clear that he will go to war with Iran if Iran doesn't give up its nuclear ambitions. These attitudes come from the same place as Travis Bickle's.

Most powerful shot in the movie: the camera slowly moves in on a bubbling glass of Alka Seltzer on the table in front of Robert DeNiro. All that fizzing is but one step removed from the explosion that is to follow.
A Major Borefest
What a sorry excuse of a movie and a waste of 2 hours of my life. Don't get me wrong, I like old movies, from the musicals, to the epics and any well acted movies. I bought the DVD thinking that this was a highly rated classic from the 70s. What it really is actually is a 2 hours borefest with dull acting and practically nothing happening for the first 65-70 mins of the movie. The story revolves around a lonely 26 years old taxi driver that was a loner and outcast and clearly have physcological issues. His ill-conceived atttempts to woo a young women named Betsy backfired and push him finally into mental instability.

Then as if suddenly realizing that there is clearly nothing much in both the script and the story line in this sorry excuse for a movie, the Director saw fit to inject the last 10 mins with a meaningless violent bloody gunfight. The entire movie is so meaningless that people must be blind to rate this as a classic.

I urge anyone thinking of renting or buying this movie to think twice. Don't throw away 2 hours of your life watching this piece of crap.
Truly A Must-See Classic
Taxi Driver is a 1976 American psychological thriller film directed by Martin Scorsese and written by Paul Schrader. The film is set in New York City, soon after the Vietnam War. The film stars Robert De Niro and features Jodie Foster, Harvey Keitel, and Cybill Shepherd. The film was nominated for four Academy Awards, including Best Picture.

In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle works the nightshift, driving his cab throughout decaying mid- '70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. Chronically alone, Travis cannot connect with anyone, not even with such other cabbies as blowhard Wizard. He becomes infatuated with vapid blonde presidential campaign worker Betsy, who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine, to violently "saving" teen hooker Iris from her pimp, Sport. Travis' bloodbath turns him into a media hero; but has it truly calmed his mind? Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era.

Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talking' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit.

Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood.

In summary,Taxi Driver must-see film for movie lovers, this Martin Scorsese masterpiece is as hard-hitting as it is compelling, with Robert De Niro at his best.
The 'Taxi Driver' narrates a story of an ailing society and the inaction and docility in the face of this danger that's engulfing this modern society of ours.
The 'Taxi Driver' (1976) written by Paul Schrader, directed by the master Martin Scorsese and played by Robert De Niro as its lead protagonist is considered a cinematic spectacle that diagnoses the 'scums' and 'filthness' of a consolidating liberalism hegemony that was at its embryonic stage during the 1970s. The principle protagonist is Travis ( played by Robert De Niro) who is a marine and a Vietnam war veteran who works as a Taxi driver in New York. Travis is a weird figure who seems mentally unstable and an introvert detached from society.

Travis apparently suffers from insomnia and shows profound introvert characteristics with vague gazes and looks diverted while interacting with his taxi drivers colleagues. He lives alone far away from his parents, he doesn't follow politics or arts(music) and seems disaffected from societal efforts of betterment and improvement. For Him evil reigns and even politicians cannot fix it. This normative and boring life of Travis is reinvigorated with purpose and value as he come across a young preadolescence blond prostitute named Iris ( Jodie Foster) who is being pimped by gangsters. He goes into gun battle with the gangsters and saves Iris while he himself later recovers from coma to proceeds with his work as a taxi driver.

The 'Taxi Driver' narrates a story of an ailing society and the inaction and docility in the face of this danger that's engulfing this modern society of ours. The messiah is a 'white man' (Travis) who once shoots in the face a Black robber. De Niro and Jodie Foster act superb and are captivating to the audience. The 'Taxi driver' is more relevant now than in the 1970s, when society is growing dis-affectionate to politics or Hope of an' alternative world' in the face of a naturalized neo-liberal ideology that disregards and undermines 'the will of the people' as the fictitious presidential candidate in the Film puts correctly. The ripples that the 'Taxi driver' initiated in the 'cinema of Politics' will reverberate throughout time.
A taxi ride you will never forget
Taxi Driver is one of my all-time favorite movies. Each time I see it, I am absolutely amazed at De Niro's genius. Perhaps no other actor can better portray this, or most other characters, at least those that require a great deal of talent and the ability to really become the character. De Niro never fails to amaze, and Taxi Driver is far from being an exception. The main protagonist of the film, Travis Bickle, is an alienated, slightly psychotic Vietnam veteran-and NYC cab driver-who being absolutely disgusted with his surroundings (at night driving a cab through all parts of the city), takes it upon himself to save a very young prostitute, Iris,( played by Jodie Foster)from all the "scum" (recurrent theme)-and the life of a prostitute, including a pimp. He also falls in love with a woman who works on a political campaign for a fictional senator, Palantine. Although he fails to win her over, he does attempt to assassinate Palantine..perhaps he wants to be a hero, or to save his love interest from what he regards as a useless environment. The recurrent theme is clear throughout the film- Bickle attempts to help those with whom he becomes obsessed, from an environment that disgusts him. Paradoxically, however, the lonely, useless character becomes regarded as a hero, for going to great lengths to save the object of his obsession (Iris). Taxi Driver takes you through the mind and reasoning of a lonely, obsessive man, and his attempts to bring justice to those who ultimately do not understand or care for him.
An individual's fight- against loneliness and for justice.
"Taxi Driver" is a beautiful portrayed of an individual who tries to do things his way, in the hectic and dangerous New York of the '70's. He already isn't a stable person to begin with (he's a Vietnam veteran) but through his loneliness and due to his own personal views and idea's of society and the world, he gets more and more consumed by the rotten society until he feels it is enough and decides to take matters into his own hands.

Beauty of the movie is that it gets interpreted by everyone in his or hers own way. Everyone sees some different things in the story and characters. I think this also was what writer Paul Schrader and director Martin Scorsese had in mind, while making this movie.

The story takes us into the world of Travis Bickle. We begin to see society through his eyes and we more and more begin to understand the character as the movie progresses. It makes his character not only a understandable one but also a very realistic one. Nothing in this movie is overdone or made to look better or worser than it is in real life.

The movie is made extra powerful through the performances of the cast. Robert De Niro is a sensational main lead and the supporting cast is also real great. Some well known actors that were still unknown at the time of this movie make an appearance, such as a very young Jodie Foster, Albert Brooks, Victor Argo and an almost unrecognizable young Harvey Keitel.

The entire movie is sensational- and with lots of style directed by Martin Scorsese, who knows how to set the right mood and atmosphere. The simple- but effective and realistic from Michael Chapman and the musical score by Bernard Herrmann (his last) also add to the atmosphere. Also of course the fact that New York City serves as the backdrop for this movie, gives the movie a typical dark and gritty feeling and atmosphere. Everything is slowly but powerfully build up in the movie and every sequences plays a significant role. A result of this is that the movie is filled with some unforgettable sequences, of which the famous 'You talking' to me?' sequence is the best known. But also the violent ending leaves a lasting impression.

It's still a movie that applies today, after 30 years now. Because lets face it, what exactly has been changed in society compared to 30 years ago and now? The subject and meaning of the movie could still apply to present day. It makes "Taxi Driver" a timeless and important movie that is a perfect reflection of society and already is worthy of the 'classic'-status.

Yet another essential '70's viewing.

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