list http://www.spout.com/ Recent community activity around Taxi Driver on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Taxi_Driver/34219/default.aspx Title: Taxi Driver
Year: 1976
Director: Martin Scorsese
Plot: "All the animals come out at night" -- and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) 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 (Peter Boyle). He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), 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 (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). 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 talkin' 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. ~ Lucia Bozzola, All Movie Guide
Times Tagged: 69
Number of Lists: 117
Number of blog posts: 13
Number of discussion threads: 20
SpoutRating: 4
]]>Fri, 31 Jul 2009 21:20:35 GMTTaxi Driver1976Martin Scorsese"All the animals come out at night" -- and one of them is a cabby about to snap. In <a href="/players/P___110533/default.aspx" style='text-decoration:underline'>Martin Scorsese</a>'s classic 1970s drama, insomniac ex-Marine Travis Bickle (<a href="/players/P____17593/default.aspx" style='text-decoration:underline'>Robert De Niro</a>) 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 (<a href="/players/P____82691/default.aspx" style='text-decoration:underline'>Peter Boyle</a>). He becomes infatuated with vapid blonde presidential campaign worker Betsy (<a href="/players/P____65168/default.aspx" style='text-decoration:underline'>Cybill Shepherd</a>), 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 (Leonard Harris), to violently "saving" teen hooker Iris (<a href="/players/P____90220/default.aspx" style='text-decoration:underline'>Jodie Foster</a>) from her pimp, Sport (<a href="/players/P____37381/default.aspx" style='text-decoration:underline'>Harvey Keitel</a>). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind? Written by <a href="/players/P___110362/default.aspx" style='text-decoration:underline'>Paul Schrader</a>, 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 <a href="/players/P____90133/default.aspx" style='text-decoration:underline'>John Ford</a>'s late Western <a href=/films/30396/default.aspx style='text-decoration:underline'>The Searchers</a> (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 <a href="/players/P____94132/default.aspx" style='text-decoration:underline'>Bernard Herrmann</a>'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 talkin' 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 <a href=/films/29292/default.aspx style='text-decoration:underline'>Rocky</a>. 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. ~ Lucia Bozzola, All Movie Guide69Tag Target (>10)11713204http://www.spout.com/ProductImages/u40374ezadg.jpghttp://www.spout.com/films/Taxi_Driver/34219/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/3/5/40852.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/5/2009 5:02:21 PM
Body: For what it’s worth, it’s perfect casting, but there’s still something surprising about the news that Dakota Fanning is taking on the starring role in Floria Sigismondi’s film about ’70s girl group The Runaways. As 15-year-old rocker Cherie Currie, Fanning will continue to bait stories about how quickly she’s growing up, though really the part seems both ironic and appropriate for the former child actress. Currie, who fronted the band wearing a lot of low-cut tops and lingerie on the outside (before Madonna!), may have grown up too fast thanks to her sexualized image and early abuses of drugs and alcohol, but just because Fanning will play the part doesn’t mean she’ll be similarly thrust into adulthood. If anything, her masquerade as Currie will be more effective if audiences recognize that Fanning is still a little girl. Fanning remains on track to be her generation’s Jodie Foster (who, interestingly enough, costarred with Currie in the movie Foxes), rather than her generation’s Drew Barrymore. And at best this could be her Taxi Driver (at worst, it’s actually her Foxes). Unfortunately, Fanning is a young girl in the age of creepy Internet comments and count-down clocks (not to mention the truly terrible examples of pedophilia to be found on the web), so much of the response to her casting is going to be stuck in predictably thoughtless concerns for her fading innocence and joked anticipation of her innocence lost. Here are some of the blogged expectations for how the role will impact Fanning’s age and image: “This could be the mature role that finally convinces audiences that Fanning is all grown up, and ready to be taken seriously,” writes Elisabeth Rappe at MTV Movies Blog. Ryan Parsons at CanMag goes for the obvious lead-in: “She’s all grown up. Well, sorta.” Nicole at Collider adds, “This is the latest attempt by Fanning to make us forget her adorable child-star origins… because playing a slutty, drug-addled rock star is about as far from ‘Man on Fire’ as she is likely to get.” Also, regarding the problem of Currie’s outfits making their way to the big screen: “…back in 1976 folks were a little hazy on child-pornography laws.” Mike Sampson at JoBlo.com calls this “just the next step in the ‘Dakota Fanning Is All Growns Up’ tour that includes her upcoming role a villainous vampire in NEW MOON.” But he also goes for the gold with a sex-image reference: If you’ve had some weird and slightly inappropriate dream that involved Dakota Fanning wearing a corset and thigh-high fishnet stockings, then you’re probably gonna wanna see THE RUNAWAYS (after seeking psychiatric help). “Hmm…kinda wish they got someone a little older that LOOKS young for this part. Not really ready to see Fanning as a s*x symbol sporting ripped fishnets and corsets,” writes commenter “Kevin” on Entertainment Weekly’s write-up. “Are you ready to watch Dakota Fanning shoot heroin and sing “Cherry Bomb” in a bustier?” writes Scandalist’s Anthony Miccio, who rushes Fanning’s growing up a bit in print by incorrectly stating the actress’ age as 16. Scott Von Doriak at The Screengrab goes for a cheap shot: “Screengrab instant poll: how many months before Fanning turns up in rehab?” ThePlaylist notes that Fanning has already got the drunkenness down, via her most recent film, Push, and links to a revealing quote from Fanning from The Vancouver Sun: “I don’t think there’s anything that, as I get older, I wouldn’t do for a movie.” Brendan Lemon at Lemonwade sensationally gives us Fanning’s history of aging quickly: Seems only yesterday that Dakota Fanning was America’s little sweetheart. In the past few years, though, she’s grown up onscreen with a vengeance: she’s been raped, she’s been beaten, and now it’s been announced that, in the upcoming Joan Jett biopic, Dakota will be a drugged-out rock ‘n’ roller. Progress! Brad Brevet at RopeofSilicon.com thinks she should stick to little girl parts: I don’t mean to sound negative, but I am never interested in these young stars playing these hard edged roles…Fanning is a bit too much the sweet and innocent type. As does “ilanac13,” commenting at BuzzSugar: well i think that dakota is really trying to make sure that people don’t realize that she’s all this sweet and whatever..but i think that she should realize that there are enough ‘dark’ actresses out there (i.e. Evan Rachel Wood, Kristen etc) that she could find her niche and be VERY successful in sweeter roles. And here are some of the better reactions to the news that actually have little to do with Fanning’s growing up: Vulture sticks to sarcasm regarding Fanning’s dainty (or lame) image: Public reaction to Kristen Stewart being cast as Joan Jett in The Runaways, the biopic of the all-girl seventies band, has been understandably less than enthusiastic. It’s wise, then, that producers have now slotted the most rock-and-roll person alive to play Cherrie Currie. “In other news,” jokes Richard at Defamer/Gawker, “Haley Joel Osment has just been cast as Steven Tyler and Alex D. Linz will play Bob Dylan in a highly reworked version of Tom Stoppard’s play Rock and Roll.” Fark.com’s headline makes fun by predicting Miley Cyrus will be cast as Lita Ford. But that’s not a bad idea. I also think Evan Rachel Wood would make a great addition as drummer Sandy West. Originally posted on:SpoutBlog
]]>Thu, 05 Mar 2009 22:02:21 GMTSpoutBlogSpoutBlog on spout.com3/5/2009 5:02:21 PMFor what it’s worth, it’s perfect casting, but there’s still something surprising about the news that Dakota Fanning is taking on the starring role in Floria Sigismondi’s film about ’70s girl group The Runaways. As 15-year-old rocker Cherie Currie, Fanning will continue to bait stories about how quickly she’s growing up, though really the part seems both ironic and appropriate for the former child actress. Currie, who fronted the band wearing a lot of low-cut tops and lingerie on the outside (before Madonna!), may have grown up too fast thanks to her sexualized image and early abuses of drugs and alcohol, but just because Fanning will play the part doesn’t mean she’ll be similarly thrust into adulthood. If anything, her masquerade as Currie will be more effective if audiences recognize that Fanning is still a little girl. Fanning remains on track to be her generation’s Jodie Foster (who, interestingly enough, costarred with Currie in the movie Foxes), rather than her generation’s Drew Barrymore. And at best this could be her Taxi Driver (at worst, it’s actually her Foxes). Unfortunately, Fanning is a young girl in the age of creepy Internet comments and count-down clocks (not to mention the truly terrible examples of pedophilia to be found on the web), so much of the response to her casting is going to be stuck in predictably thoughtless concerns for her fading innocence and joked anticipation of her innocence lost. Here are some of the blogged expectations for how the role will impact Fanning’s age and image: “This could be the mature role that finally convinces audiences that Fanning is all grown up, and ready to be taken seriously,” writes Elisabeth Rappe at MTV Movies Blog. Ryan Parsons at CanMag goes for the obvious lead-in: “She’s all grown up. Well, sorta.” Nicole at Collider adds, “This is the latest attempt by Fanning to make us forget her adorable child-star origins… because playing a slutty, drug-addled rock star is about as far from ‘Man on Fire’ as she is likely to get.” Also, regarding the problem of Currie’s outfits making their way to the big screen: “…back in 1976 folks were a little hazy on child-pornography laws.” Mike Sampson at JoBlo.com calls this “just the next step in the ‘Dakota Fanning Is All Growns Up’ tour that includes her upcoming role a villainous vampire in NEW MOON.” But he also goes for the gold with a sex-image reference: If you’ve had some weird and slightly inappropriate dream that involved Dakota Fanning wearing a corset and thigh-high fishnet stockings, then you’re probably gonna wanna see THE RUNAWAYS (after seeking psychiatric help). “Hmm…kinda wish they got someone a little older that LOOKS young for this part. Not really ready to see Fanning as a s*x symbol sporting ripped fishnets and corsets,” writes commenter “Kevin” on Entertainment Weekly’s write-up. “Are you ready to watch Dakota Fanning shoot heroin and sing “Cherry Bomb” in a bustier?” writes Scandalist’s Anthony Miccio, who rushes Fanning’s growing up a bit in print by incorrectly stating the actress’ age as 16. Scott Von Doriak at The Screengrab goes for a cheap shot: “Screengrab instant poll: how many months before Fanning turns up in rehab?” ThePlaylist notes that Fanning has already got the drunkenness down, via her most recent film, Push, and links to a revealing quote from Fanning from The Vancouver Sun: “I don’t think there’s anything that, as I get older, I wouldn’t do for a movie.” Brendan Lemon at Lemonwade sensationally gives us Fanning’s history of aging quickly: Seems only yesterday that Dakota Fanning was America’s little sweetheart. In the past few years, though, she’s grown up onscreen with a vengeance: she’s been raped, she’s been beaten, and now it’s been announced that, in the upcoming Joan Jett biopic, Dakota will be a drugged-out rock ‘n’ roller. Progress! Brad Brevet at RopeofSilicon.com thinks she should stick to little girl parts: I don’t mean to sound negative, but I am never interested in these young stars playing these hard edged roles…Fanning is a bit too much the sweet and innocent type. As does “ilanac13,” commenting at BuzzSugar: well i think that dakota is really trying to make sure that people don’t realize that she’s all this sweet and whatever..but i think that she should realize that there are enough ‘dark’ actresses out there (i.e. Evan Rachel Wood, Kristen etc) that she could find her niche and be VERY successful in sweeter roles. And here are some of the better reactions to the news that actually have little to do with Fanning’s growing up: Vulture sticks to sarcasm regarding Fanning’s dainty (or lame) image: Public reaction to Kristen Stewart being cast as Joan Jett in The Runaways, the biopic of the all-girl seventies band, has been understandably less than enthusiastic. It’s wise, then, that producers have now slotted the most rock-and-roll person alive to play Cherrie Currie. “In other news,” jokes Richard at Defamer/Gawker, “Haley Joel Osment has just been cast as Steven Tyler and Alex D. Linz will play Bob Dylan in a highly reworked version of Tom Stoppard’s play Rock and Roll.” Fark.com’s headline makes fun by predicting Miley Cyrus will be cast as Lita Ford. But that’s not a bad idea. I also think Evan Rachel Wood would make a great addition as drummer Sandy West. Originally posted on:SpoutBlog http://www.spout.com/blogs/pippin06/archive/2009/2/18/40540.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 2/18/2009 10:11:45 PM
Body: What's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Taxi Driver is on the following AFI lists: The Original Top 100 (#47)100 Most Heart-Pounding Movies (#22)100 Years...100 Heroes and Villains (Travis Bickle is the #30 villain)100 Movie Quotes (#10 - Travis Bickle: "You talking to me?")The Revised Top 100 (#52) Courtesy of the weekly red envelope, the next AFI entry marks Martin Scorsese's second entry on the original AFI list. I had never seen Taxi Driver, and aside from the famous (or infamous?) "you talking to me" aside, I knew very little about the film, but I was eager to see how Marty's visual prowess would highlight this particular story, since this (along with Raging Bull) are the most esteemed projects of his illustrious film catalog, at least according to people who seem to know more than me. Back when Robert DeNiro was Marty's muse in a string of films, Bobby played Travis Bickle in Taxi Driver (I think it was their second pairing). When the film opens, the viewer learns that Travis is an insomniac who can't seem to fall asleep at any time of the day nor for any length of time. He's also a Vietnam veteran, and though he collects military retirement money, he decides to pass his nights by becoming a cab driver in New York. As he casually comments to anyone who asks, he'll drive anywhere, any time, regardless of his surroundings, but the problem is that, beyond certain inane questions with simple answers like "where do you drive," Travis is unable to relate to anyone, including to other cab drivers like the high-talking Wizard (Peter Boyle). This inability to interact with other humans is especially troublesome when Travis takes a fancy to Betsy (Cybill Shepherd), a one-dimensional, political socialite and campaign worker. While she's willing, against her better judgment and the judgment of her friend and co-worker (Albert Brooks, sporting a startling 'fro), to give Travis a chance, Travis is completely clueless and as awkward as Betsy seems to sense (and ignore) initially. Though they share a few bites and superficial chats, they can't maintain a conversation together, and Travis also takes Betsy to a pornographic movie on their first official date, innocently and ignorantly believing that this is what people do on dates. After Betsy spurns Travis thanks to his not-so-choice movie selection, Travis' antisocial behavior courtesy of his insomnia begins to transform into bona fide psychosis. He arms himself with all manner of black market firearms, believing he will clean the city of the "scum" that sullies it. He plans an assassination attempt on the presidential candidate for whom Betsy works, begins to radically change his appearance, and becomes protective of a twelve-year-old prostitute calling herself "Easy," though her real name is Iris (Jodie Foster). Iris chanced to crawl into Travis' cab one night, and he's so unable to forget her, he tracks her down and under the guise of approaching her pimp Sport (Harvey Keitel) for her services, tries to talk her into leaving her street life. Ultimately, when the assassination attempt goes awry, Travis finds another outlet to carry out his imagined heroics in an effort to save Iris from her circumstances. Taxi Driver was an interesting movie that elicited many reactions from me. On the one hand, the audio and visual experience was truly something to behold, subtly getting under the skin. Marty never ceases to impress me, at least on some level. He's got his own unique visual style, which feels pre-planned and carefully considered for every frame (which also matches his reputation for perfectionism). Taxi Driver's visual theme directly parallels Travis' insomnia. The camera is always street level, the frames occasionally off-kilter, and the shots were taken from Travis' perspective if Travis wasn't the central focus. The cinematographical landscape is dark, hazy, sometimes blurry, accentuating the night life and gritty underbelly of the urban nightmare Travis both imagines and actually experiences. The fabulous, jazz-infused final score of Bernard Hermann was easily my favorite part of the entire film, lending not only street cred to the proceedings but adding a sense of loneliness or at least blue and contemplative isolation to Travis' situation, surreptitiously creating a thread of sympathy between the viewer and the unstable taxi driver. That's where Taxi Driver succeeds best, as a character study of an unfortunate soul who can't help his situation and seems to have good intentions, even if his road lined with them has already reached hell and beyond. It's also a powerful examination of how deteriorating physical and mental symptoms can manifest into worse consequences for the person having them. Bobby's performance was unsetting and yet oddly captivating. Even though I was more impressed by boxer Jake in Raging Bull (and by Vito Corleone in the second Godfather), there was something instinctual and magnetic that made Bobby's Travis a fascinating character as he descended into uncertain darkness. Travis isn't a hero or even an anti-hero, though. In reality, he's a villain, motivated as he is by progressive psychosis and violent urges. I only had one nagging question story-wise throughout the whole film: what caused Travis' insomnia? The insomnia seemed to inform all of his other problems. One can infer that the insomnia might have been brought on by some form of post-traumatic stress disorder, ex-Marine as he is, but that's only a guess. While this particular factoid may not have been overarchingly important in the grand scheme of the character study, I felt it was important to know given the particular roads down which Travis traveled once he was finally overtaken by his paranoid thoughts and delusions of grandeur. My only other complaint about the film was Cybill Shepherd's performance. You know, I didn't even know she was in this one, and I think that's because her take on Betsy could be classified as less than memorable. Her performance, coupled with how it seems to have been written and possibly directed, makes Betsy an ambiguous character, one who seems feminine and yet strangely androgynous, smart yet superficial, savvy yet completely ignorant. I'm not sure if her character was meant to be such a veil of mystery in contrast to the fairly clear, simplistic, and animalistic tendencies of Travis, but I didn't particularly enjoy Betsy's (i.e. Cybill's) presence at any point in the film. She was uninteresting and almost minor compared to all of Travis' other pursuits. On the other hand, seeing such a young and mature performance by Jodie Foster was kind of a treat, even if she was playing a child prostitute. This is the performance that inspired Ronald Reagan's would-be assassin, John Hinkley, you know. Controversial as it must have been at the time, it also showed what amazing range Ms. Foster had and would have throughout her career, and she was able to walk that fine line between innocence and the lack of impressively. All in all, though, the hallmark of Taxi Driver and its many AFI positions, at least aside from the thriller list since I never felt fear or tension watching this film, even during the spectacularly graphic gunfight, is owing to Marty's directorial genius. I liked Raging Bull better and feel it deserves to be rated higher because it was a tighter film that was as poetic as it was graphic, whereas Taxi Driver, perhaps owing to its subject matter, doesn't quite show the same sense of poetry. What it does show, however, is how methodical and yet abstract Marty's directorial style truly is; he's as much of a walking contradiction as a director as any of the complex characters to which he seems to be drawn. It's too bad his gift for acting is not as ample - Marty's cameo (or bit part, at any rate) in this film is kind of laughable. In the end, though, I find myself thinking that Taxi Driver rates an 8 on the patented ratings scale for having minor flaws but otherwise being very good. As to the test, however, it doesn't pass for me. It's too graphic to watch repeatedly, and I think I'm still searching for the Marty film that speaks to me on a relatable level worthy of repeated viewings and ownership. Still, Taxi Driver is a very good film on all fronts and a definite must-see for anyone looking to explore Scorsese's filmography. Plus, it turns out to be a great time capsule snapshot for 1970s New York City.
]]>Thu, 19 Feb 2009 03:11:45 GMTpippin06Reel Thoughts2/18/2009 10:11:45 PMWhat's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Taxi Driver is on the following AFI lists: The Original Top 100 (#47)100 Most Heart-Pounding Movies (#22)100 Years...100 Heroes and Villains (Travis Bickle is the #30 villain)100 Movie Quotes (#10 - Travis Bickle: "You talking to me?")The Revised Top 100 (#52) Courtesy of the weekly red envelope, the next AFI entry marks Martin Scorsese's second entry on the original AFI list. I had never seen Taxi Driver, and aside from the famous (or infamous?) "you talking to me" aside, I knew very little about the film, but I was eager to see how Marty's visual prowess would highlight this particular story, since this (along with Raging Bull) are the most esteemed projects of his illustrious film catalog, at least according to people who seem to know more than me. Back when Robert DeNiro was Marty's muse in a string of films, Bobby played Travis Bickle in Taxi Driver (I think it was their second pairing). When the film opens, the viewer learns that Travis is an insomniac who can't seem to fall asleep at any time of the day nor for any length of time. He's also a Vietnam veteran, and though he collects military retirement money, he decides to pass his nights by becoming a cab driver in New York. As he casually comments to anyone who asks, he'll drive anywhere, any time, regardless of his surroundings, but the problem is that, beyond certain inane questions with simple answers like "where do you drive," Travis is unable to relate to anyone, including to other cab drivers like the high-talking Wizard (Peter Boyle). This inability to interact with other humans is especially troublesome when Travis takes a fancy to Betsy (Cybill Shepherd), a one-dimensional, political socialite and campaign worker. While she's willing, against her better judgment and the judgment of her friend and co-worker (Albert Brooks, sporting a startling 'fro), to give Travis a chance, Travis is completely clueless and as awkward as Betsy seems to sense (and ignore) initially. Though they share a few bites and superficial chats, they can't maintain a conversation together, and Travis also takes Betsy to a pornographic movie on their first official date, innocently and ignorantly believing that this is what people do on dates. After Betsy spurns Travis thanks to his not-so-choice movie selection, Travis' antisocial behavior courtesy of his insomnia begins to transform into bona fide psychosis. He arms himself with all manner of black market firearms, believing he will clean the city of the "scum" that sullies it. He plans an assassination attempt on the presidential candidate for whom Betsy works, begins to radically change his appearance, and becomes protective of a twelve-year-old prostitute calling herself "Easy," though her real name is Iris (Jodie Foster). Iris chanced to crawl into Travis' cab one night, and he's so unable to forget her, he tracks her down and under the guise of approaching her pimp Sport (Harvey Keitel) for her services, tries to talk her into leaving her street life. Ultimately, when the assassination attempt goes awry, Travis finds another outlet to carry out his imagined heroics in an effort to save Iris from her circumstances. Taxi Driver was an interesting movie that elicited many reactions from me. On the one hand, the audio and visual experience was truly something to behold, subtly getting under the skin. Marty never ceases to impress me, at least on some level. He's got his own unique visual style, which feels pre-planned and carefully considered for every frame (which also matches his reputation for perfectionism). Taxi Driver's visual theme directly parallels Travis' insomnia. The camera is always street level, the frames occasionally off-kilter, and the shots were taken from Travis' perspective if Travis wasn't the central focus. The cinematographical landscape is dark, hazy, sometimes blurry, accentuating the night life and gritty underbelly of the urban nightmare Travis both imagines and actually experiences. The fabulous, jazz-infused final score of Bernard Hermann was easily my favorite part of the entire film, lending not only street cred to the proceedings but adding a sense of loneliness or at least blue and contemplative isolation to Travis' situation, surreptitiously creating a thread of sympathy between the viewer and the unstable taxi driver. That's where Taxi Driver succeeds best, as a character study of an unfortunate soul who can't help his situation and seems to have good intentions, even if his road lined with them has already reached hell and beyond. It's also a powerful examination of how deteriorating physical and mental symptoms can manifest into worse consequences for the person having them. Bobby's performance was unsetting and yet oddly captivating. Even though I was more impressed by boxer Jake in Raging Bull (and by Vito Corleone in the second Godfather), there was something instinctual and magnetic that made Bobby's Travis a fascinating character as he descended into uncertain darkness. Travis isn't a hero or even an anti-hero, though. In reality, he's a villain, motivated as he is by progressive psychosis and violent urges. I only had one nagging question story-wise throughout the whole film: what caused Travis' insomnia? The insomnia seemed to inform all of his other problems. One can infer that the insomnia might have been brought on by some form of post-traumatic stress disorder, ex-Marine as he is, but that's only a guess. While this particular factoid may not have been overarchingly important in the grand scheme of the character study, I felt it was important to know given the particular roads down which Travis traveled once he was finally overtaken by his paranoid thoughts and delusions of grandeur. My only other complaint about the film was Cybill Shepherd's performance. You know, I didn't even know she was in this one, and I think that's because her take on Betsy could be classified as less than memorable. Her performance, coupled with how it seems to have been written and possibly directed, makes Betsy an ambiguous character, one who seems feminine and yet strangely androgynous, smart yet superficial, savvy yet completely ignorant. I'm not sure if her character was meant to be such a veil of mystery in contrast to the fairly clear, simplistic, and animalistic tendencies of Travis, but I didn't particularly enjoy Betsy's (i.e. Cybill's) presence at any point in the film. She was uninteresting and almost minor compared to all of Travis' other pursuits. On the other hand, seeing such a young and mature performance by Jodie Foster was kind of a treat, even if she was playing a child prostitute. This is the performance that inspired Ronald Reagan's would-be assassin, John Hinkley, you know. Controversial as it must have been at the time, it also showed what amazing range Ms. Foster had and would have throughout her career, and she was able to walk that fine line between innocence and the lack of impressively. All in all, though, the hallmark of Taxi Driver and its many AFI positions, at least aside from the thriller list since I never felt fear or tension watching this film, even during the spectacularly graphic gunfight, is owing to Marty's directorial genius. I liked Raging Bull better and feel it deserves to be rated higher because it was a tighter film that was as poetic as it was graphic, whereas Taxi Driver, perhaps owing to its subject matter, doesn't quite show the same sense of poetry. What it does show, however, is how methodical and yet abstract Marty's directorial style truly is; he's as much of a walking contradiction as a director as any of the complex characters to which he seems to be drawn. It's too bad his gift for acting is not as ample - Marty's cameo (or bit part, at any rate) in this film is kind of laughable. In the end, though, I find myself thinking that Taxi Driver rates an 8 on the patented ratings scale for having minor flaws but otherwise being very good. As to the test, however, it doesn't pass for me. It's too graphic to watch repeatedly, and I think I'm still searching for the Marty film that speaks to me on a relatable level worthy of repeated viewings and ownership. Still, Taxi Driver is a very good film on all fronts and a definite must-see for anyone looking to explore Scorsese's filmography. Plus, it turns out to be a great time capsule snapshot for 1970s New York City. http://www.spout.com/groups/Top_5/Re_Top_5_Overrated_Movies/190/40434/1/ShowPost.aspx Post By: bailey822
Post To: Top 5
Post Date: 2/12/2009 9:52:49 PM
Body: I agree completely about Goodfellas. I love Scorsese, but this was no Godfather. Shakespeare in Love was another one that didn't exactly deserve all that critical acclaim...it was basically a romantic comedy with lots of expensive costumes. [quote user="leeroy711"] [quote user="SkyPilot"] 3. Amelie [/quote] Boooooooooo!!! I love this one and everything else by Juenet. The rest of the list I can't disagree with but mine would look more like: 1. Platoon - Hamburger Hill was better........... trust me. 2. Goodfellas/Casino/Taxi Driver - I didn't really get into a Scorsese film until The Departed. These others were OK, but that's about it. If it weren't for Oliver Stone, Martin Scorsese would be the most overrated director. 3. Shakespeare In Love - this was when I stopped watching or caring about the Oscars 4. Gladiator - see No. 3 - And I actually liked Black Hawk Down better for a Ridley Scott film. 5. Shawshank Redemption - This one was clever but c'mon. No. 1 on IMDB's top 250 list is just ridiculous. [/quote]
]]>Fri, 13 Feb 2009 02:52:49 GMTbailey822Top 52/12/2009 9:52:49 PMI agree completely about Goodfellas. I love Scorsese, but this was no Godfather. Shakespeare in Love was another one that didn't exactly deserve all that critical acclaim...it was basically a romantic comedy with lots of expensive costumes. [quote user="leeroy711"] [quote user="SkyPilot"] 3. Amelie [/quote] Boooooooooo!!! I love this one and everything else by Juenet. The rest of the list I can't disagree with but mine would look more like: 1. Platoon - Hamburger Hill was better........... trust me. 2. Goodfellas/Casino/Taxi Driver - I didn't really get into a Scorsese film until The Departed. These others were OK, but that's about it. If it weren't for Oliver Stone, Martin Scorsese would be the most overrated director. 3. Shakespeare In Love - this was when I stopped watching or caring about the Oscars 4. Gladiator - see No. 3 - And I actually liked Black Hawk Down better for a Ridley Scott film. 5. Shawshank Redemption - This one was clever but c'mon. No. 1 on IMDB's top 250 list is just ridiculous. [/quote] http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_February_9_Public_Transportation/625/40353/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 2/9/2009 2:48:21 PM
Body: C'mon Magic Bus..................... Or would you prefer The Double-Dutch Bus.......... fo-shizzle. Lets talk about movies or scenes that take place in or revolve around various forms of public transportation. Hmmm, let's see. There's buses. Such as the Brazillian documentary Bus 174 about a hostage stand-off. Oh yeah, there's allways "Pop quiz hot-shot!" How about subways and trains? I loved Dark Days. A doc about the people that live in underground in the subway systems of NY. I also really liked a Hungarian movie called Kontroll that takes place entirely in the subways of Budapest. Hitchcock's The Lady Vanishes was about a train ride and Kurosawa's High and Low has a great scene on a train. (my beautiful wifey bought me that one for Christmas) I read he used something like 9 different camera angles to get that scene and in such a small space it was quite an accomplishment. I know taxies aren't exactly "public" transportation but let's throw those in there too. You've got Taxi DriverTaxi Driver (1976) and I think Micheal Mann made a pretty underrated movie with Collateral to name a couple. So, what else??
]]>Mon, 09 Feb 2009 19:48:21 GMTleeroy711Weekly Theme2/9/2009 2:48:21 PMC'mon Magic Bus..................... Or would you prefer The Double-Dutch Bus.......... fo-shizzle. Lets talk about movies or scenes that take place in or revolve around various forms of public transportation. Hmmm, let's see. There's buses. Such as the Brazillian documentary Bus 174 about a hostage stand-off. Oh yeah, there's allways "Pop quiz hot-shot!" How about subways and trains? I loved Dark Days. A doc about the people that live in underground in the subway systems of NY. I also really liked a Hungarian movie called Kontroll that takes place entirely in the subways of Budapest. Hitchcock's The Lady Vanishes was about a train ride and Kurosawa's High and Low has a great scene on a train. (my beautiful wifey bought me that one for Christmas) I read he used something like 9 different camera angles to get that scene and in such a small space it was quite an accomplishment. I know taxies aren't exactly "public" transportation but let's throw those in there too. You've got Taxi DriverTaxi Driver (1976) and I think Micheal Mann made a pretty underrated movie with Collateral to name a couple. So, what else?? http://www.spout.com/groups/Top_5/Re_Top_5_Overrated_Movies/190/39479/1/ShowPost.aspx Post By: flair
Post To: Top 5
Post Date: 1/13/2009 5:56:38 PM
Body: [quote user="pippin06"] [quote user="leeroy711"] [quote user="SkyPilot"] 3. Amelie [/quote] Boooooooooo!!! I love this one and everything else by Juenet. The rest of the list I can't disagree with but mine would look more like: 1. Platoon - Hamburger Hill was better........... trust me. 2. Goodfellas/Casino/Taxi Driver - I didn't really get into a Scorsese film until The Departed. These others were OK, but that's about it. If it weren't for Oliver Stone, Martin Scorsese would be the most overrated director. 3. Shakespeare In Love - this was when I stopped watching or caring about the Oscars 4. Gladiator - see No. 3 - And I actually liked Black Hawk Down better for a Ridley Scott film. 5. Shawshank Redemption - This one was clever but c'mon. No. 1 on IMDB's top 250 list is just ridiculous. [/quote] leeroy, I think you are harsh on Scorsese, and he didn't only make those three flicks prior to the Departed. In the land of overrated for Scorsese, I submit Gangs of New York and The Aviator. I hate them, and they were nominated a million times for a million awards (and were some in the long line of Scorsese's no-Oscar curse). Though, I totally agree with Gladiator (also doesn't hold up to repeat viewings) and Shakespeare in Love. I was hot when the latter won Best Picture thanks to the alpha-campaignig of the Weinsteins. Saving Private Ryan is a much better film, and I personally and generally prefer romances to war movies any day, but come on. And now I see why Shawshank might be considered overrated Ok, I concede on that point, but I'm with leeroy on Amelie. [/quote]
]]>Tue, 13 Jan 2009 22:56:38 GMTflairTop 51/13/2009 5:56:38 PM[quote user="pippin06"] [quote user="leeroy711"] [quote user="SkyPilot"] 3. Amelie [/quote] Boooooooooo!!! I love this one and everything else by Juenet. The rest of the list I can't disagree with but mine would look more like: 1. Platoon - Hamburger Hill was better........... trust me. 2. Goodfellas/Casino/Taxi Driver - I didn't really get into a Scorsese film until The Departed. These others were OK, but that's about it. If it weren't for Oliver Stone, Martin Scorsese would be the most overrated director. 3. Shakespeare In Love - this was when I stopped watching or caring about the Oscars 4. Gladiator - see No. 3 - And I actually liked Black Hawk Down better for a Ridley Scott film. 5. Shawshank Redemption - This one was clever but c'mon. No. 1 on IMDB's top 250 list is just ridiculous. [/quote] leeroy, I think you are harsh on Scorsese, and he didn't only make those three flicks prior to the Departed. In the land of overrated for Scorsese, I submit Gangs of New York and The Aviator. I hate them, and they were nominated a million times for a million awards (and were some in the long line of Scorsese's no-Oscar curse). Though, I totally agree with Gladiator (also doesn't hold up to repeat viewings) and Shakespeare in Love. I was hot when the latter won Best Picture thanks to the alpha-campaignig of the Weinsteins. Saving Private Ryan is a much better film, and I personally and generally prefer romances to war movies any day, but come on. And now I see why Shawshank might be considered overrated Ok, I concede on that point, but I'm with leeroy on Amelie. [/quote] http://www.spout.com/groups/Movie_Polls/Re_What_is_your_favorite_Martin_Scorsese_directin/657/39202/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 1/7/2009 12:01:53 PM
Body: Well I voted for Taxi Driver. I think it's just overall more focused in my opinion, over the big gangster ones like Casino and Goodfellas (which are both very good). I have yet to see some of these. I'm interested in Cape Fear since the original was so great. But I'm surprised no one has even mentioned The King of Comedy. I know some Scorcese fans that say it's actually maybe his best or at least most underrated movie. Anyone seen it an have a comment?
]]>Wed, 07 Jan 2009 17:01:53 GMTRisseladaMovie Polls1/7/2009 12:01:53 PMWell I voted for Taxi Driver. I think it's just overall more focused in my opinion, over the big gangster ones like Casino and Goodfellas (which are both very good). I have yet to see some of these. I'm interested in Cape Fear since the original was so great. But I'm surprised no one has even mentioned The King of Comedy. I know some Scorcese fans that say it's actually maybe his best or at least most underrated movie. Anyone seen it an have a comment? http://www.spout.com/groups/Movie_Polls/Re_What_is_your_favorite_Martin_Scorsese_directin/657/39163/1/ShowPost.aspx Post By: Macabre_FilmNut
Post To: Movie Polls
Post Date: 1/6/2009 4:38:42 PM
Body: [quote user="Risselada"] Please reference this thread for the rules of this group. So it was announced a while ago that Martin Scorsese will again be directing Robert De Niro in an upcomming movie called I Heard You Paint Houses. While the potential release is still a long way off lets talk about your favorite of these filmmakers' previous collaborations. Please vote only once in each poll. Movies referenced in this poll:Cape FearCasinoGoodfellasThe King of ComedyMean StreetsNew York, New YorkRaging BullTaxi Driver [/quote] Wow, this is a tuff one for me.I am huge fan of Scorsese and De Niro.I remember seeing Cape Fear at the theaters when I was a kid and liked very much. Raging bull was another good one, but not a favorite. Huge fan of mob movie and books. Casino was good but it didnt do nothing for me. I remember reading a book entitled Murder Machine which was about a serial killing hit squad among the time Goodfellas was supposed to take place. This crew in the book was alot like Pesci's character, but more sinister. I loved Mean Streets and it was pretty much what Scorsese saw as a child grewing up in the mean streets of New york. I remember him saying in an interview that he had alot of associates tied into the mob and the only reason he didnt get involved was something to do with health issues, so this was tribuate so to say to his heritage and what he saw. All in all I would have to go with cult favorite, Taxi Driver. I really liked the grittyness of it. Alot of people say it was just an orgy of violence, but to alot of people it was one of the greatest films of our time.
]]>Tue, 06 Jan 2009 21:38:42 GMTMacabre_FilmNutMovie Polls1/6/2009 4:38:42 PM[quote user="Risselada"] Please reference this thread for the rules of this group. So it was announced a while ago that Martin Scorsese will again be directing Robert De Niro in an upcomming movie called I Heard You Paint Houses. While the potential release is still a long way off lets talk about your favorite of these filmmakers' previous collaborations. Please vote only once in each poll. Movies referenced in this poll:Cape FearCasinoGoodfellasThe King of ComedyMean StreetsNew York, New YorkRaging BullTaxi Driver [/quote] Wow, this is a tuff one for me.I am huge fan of Scorsese and De Niro.I remember seeing Cape Fear at the theaters when I was a kid and liked very much. Raging bull was another good one, but not a favorite. Huge fan of mob movie and books. Casino was good but it didnt do nothing for me. I remember reading a book entitled Murder Machine which was about a serial killing hit squad among the time Goodfellas was supposed to take place. This crew in the book was alot like Pesci's character, but more sinister. I loved Mean Streets and it was pretty much what Scorsese saw as a child grewing up in the mean streets of New york. I remember him saying in an interview that he had alot of associates tied into the mob and the only reason he didnt get involved was something to do with health issues, so this was tribuate so to say to his heritage and what he saw. All in all I would have to go with cult favorite, Taxi Driver. I really liked the grittyness of it. Alot of people say it was just an orgy of violence, but to alot of people it was one of the greatest films of our time. http://www.spout.com/groups/Movie_Polls/What_is_your_favorite_Martin_Scorsese_directing/657/39152/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 1/6/2009 2:27:44 PM
Body: Please reference this thread for the rules of this group. So it was announced a while ago that Martin Scorsese will again be directing Robert De Niro in an upcomming movie called I Heard You Paint Houses. While the potential release is still a long way off lets talk about your favorite of these filmmakers' previous collaborations. Please vote only once in each poll. Movies referenced in this poll:Cape FearCasinoGoodfellasThe King of ComedyMean StreetsNew York, New YorkRaging BullTaxi Driver
]]>Tue, 06 Jan 2009 19:27:44 GMTRisseladaMovie Polls1/6/2009 2:27:44 PMPlease reference this thread for the rules of this group. So it was announced a while ago that Martin Scorsese will again be directing Robert De Niro in an upcomming movie called I Heard You Paint Houses. While the potential release is still a long way off lets talk about your favorite of these filmmakers' previous collaborations. Please vote only once in each poll. Movies referenced in this poll:Cape FearCasinoGoodfellasThe King of ComedyMean StreetsNew York, New YorkRaging BullTaxi Driver http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_December_1_The_Anti_Hero/625/37919/1/ShowPost.aspx Post By: mciocco
Post To: Weekly Theme
Post Date: 12/3/2008 9:08:44 PM
Body: Interesting anime picks:) Here are some others I thought of: Harry Callahan from Dirty Harry He's so likeable that most people probably wouldn't even peg him as an anti-hero, but when you think about it, he really boils down to a vigilante. Indeed, Eastwood took so much crap for it that the sequel had him firmly rebuffing real vigilantes. He's a "the ends justify the means" kinda guy though, which lands him on this list:) 'Mad' Max Rockatansky from Mad Max and The Road Warrior A good guy who is twisted by vengeance, etc... but eventually comes back to do the right thing. Travis Bickle from Taxi Driver Ok, so he's a little weird and some may have trouble relating to him, but he's really just exaggerated for effect. I think there's a little of Travis Bickle in everyone. He's basically a good guy and wants to do good in the world, he just doesn't know how to do that... Henry Hil from Goodfellas You can totally understand and relate to this guy, even though he's clearly a lowlife scumbag gangster:p Sanjuro in Yojimbo and Sanjuro I totally agree with the previous choice of The Man With No Name, and Sanjuro is basically the same character (after all, A Fistful of Dollars is basically the same as Yojimbo) Neil McCauley and for that matter, Lt. Vincent Hanna from Heat Flip sides of a coin, these are both likeable and flawed characters.
]]>Thu, 04 Dec 2008 02:08:44 GMTmcioccoWeekly Theme12/3/2008 9:08:44 PMInteresting anime picks:) Here are some others I thought of: Harry Callahan from Dirty Harry He's so likeable that most people probably wouldn't even peg him as an anti-hero, but when you think about it, he really boils down to a vigilante. Indeed, Eastwood took so much crap for it that the sequel had him firmly rebuffing real vigilantes. He's a "the ends justify the means" kinda guy though, which lands him on this list:) 'Mad' Max Rockatansky from Mad Max and The Road Warrior A good guy who is twisted by vengeance, etc... but eventually comes back to do the right thing. Travis Bickle from Taxi Driver Ok, so he's a little weird and some may have trouble relating to him, but he's really just exaggerated for effect. I think there's a little of Travis Bickle in everyone. He's basically a good guy and wants to do good in the world, he just doesn't know how to do that... Henry Hil from Goodfellas You can totally understand and relate to this guy, even though he's clearly a lowlife scumbag gangster:p Sanjuro in Yojimbo and Sanjuro I totally agree with the previous choice of The Man With No Name, and Sanjuro is basically the same character (after all, A Fistful of Dollars is basically the same as Yojimbo) Neil McCauley and for that matter, Lt. Vincent Hanna from Heat Flip sides of a coin, these are both likeable and flawed characters. http://www.spout.com/groups/Top_5/Re_Top_5_Overrated_Movies/190/36951/1/ShowPost.aspx Post By: Risselada
Post To: Top 5
Post Date: 11/4/2008 1:43:16 PM
Body: [quote user="SkyPilot"] [quote user="leeroy711"] [quote user="SkyPilot"] 3. Amelie [/quote] Boooooooooo!!! I love this one and everything else by Juenet. The rest of the list I can't disagree with but mine would look more like: 1. Platoon - Hamburger Hill was better........... trust me. 2. Goodfellas/Casino/Taxi Driver - I didn't really get into a Scorsese film until The Departed. These others were OK, but that's about it. If it weren't for Oliver Stone, Martin Scorsese would be the most overrated director. [/quote] Of the three Juenet films I've seen, I've liked Amelie the least. My favorite by him is Delicatessen.[/quote] I luke Jeunet too, and Delicatessen is also my favorite. And I do think Amelie is a good movie, but the reason why I would agree that it is overrated is because every person who would normally never seen a foreign film ends up seeing Amelie somehow and and declares it their favorite foreign movie. If you look at the structure, it's really a foreign movie designed for American sensibilities in what they think a good foreign movie should be.
]]>Tue, 04 Nov 2008 18:43:16 GMTRisseladaTop 511/4/2008 1:43:16 PM[quote user="SkyPilot"] [quote user="leeroy711"] [quote user="SkyPilot"] 3. Amelie [/quote] Boooooooooo!!! I love this one and everything else by Juenet. The rest of the list I can't disagree with but mine would look more like: 1. Platoon - Hamburger Hill was better........... trust me. 2. Goodfellas/Casino/Taxi Driver - I didn't really get into a Scorsese film until The Departed. These others were OK, but that's about it. If it weren't for Oliver Stone, Martin Scorsese would be the most overrated director. [/quote] Of the three Juenet films I've seen, I've liked Amelie the least. My favorite by him is Delicatessen.[/quote] I luke Jeunet too, and Delicatessen is also my favorite. And I do think Amelie is a good movie, but the reason why I would agree that it is overrated is because every person who would normally never seen a foreign film ends up seeing Amelie somehow and and declares it their favorite foreign movie. If you look at the structure, it's really a foreign movie designed for American sensibilities in what they think a good foreign movie should be. http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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