Just a little side note, an observation from one scene that has stayed with me since I first saw this movie nearly 45 yrs ago. It's the middle of the movie when Travis is going thru his metamorphosis from simple-minded taxi driver to full on psychotic protector/vigilante; the iconic "You talkin' to me?" scene. He's in his drab apartment watching American Bandstand and as Jackson Browne's achingly beautiful song "Late For The Sky" plays, the AB dancers sway slowly to the beat, holding each other close...teenagers in love having a tender moment. Travis' face shows how desperately lonely he is; how he's probably never even danced with a girl in his life, much less had a normal relationship with one and how he needs to make a love connection with the Jodie Foster or Cybill Shepherd characters in a most sensational way. To me, a crystallizing scene that moves the story along to its' inevitable shocking end.
1,094 Reviews
A wonderfully engaging and convincing slide into a modern madness from a director and actor showing some of their best form
bob the moo13 February 2006
Travis Bickle is a Vietnam veteran who cannot sleep at night and just ends up travelling around. To try and use the time effectively he becomes a taxi driver. Things start to look up for him as he works nights and slowly starts to live a little bit. He meets a girl, Betsy, and arranges to see her a few times despite the fact that he is a little bit out of the ordinary a quality that seems to interest her. His connection to the night allows him to see young prostitute Iris being bullied by her pimp Matthew and he begins to see his role to perhaps save her him playing his part in cleaning up the sewer that he feels New York has become. However when his view of normal life puts Betsy off him he starts to retreat more and more into the night, looking for meaning in his life and growing more and more outraged by the world he is part of.
Hardly the most uplifting of films it is engaging and impressive and truly deserves the reputation it has. Martin Scorsese and Paul Schrader have produced a film that convincingly portrays a man cut out of society who has the slightest connection to normality before finding it eroded away. The script is brilliant because the detail is engaging but it is this descent into a very modern type of madness that drives the film forward. Travis has just enough about him that is recognisable that it makes it so easy to go along with the rest of his madness. A major part of this is getting the feeling right about living in a cesspit; a city that seems to have forgotten its way morally New York is the strongest example but elements of it could be parts of any city I suspect. In painting this world in such a real way, Scorsese has made Travis all the more convincing and, to a point, all the easier to follow in his fall. Like I said it is not a film to morally uplift you but one that is depressingly fair. There is no redemption in this modern world and although it appears that the violence at the end somehow redeems Travis in reality by showing "society" accepting his action it drags the rest of us down nearer the world that he hates and has become part of. I love King of Comedy for the same reason albeit in a different world.
Scorsese injects a real understanding of the place and a real sense of foreboding into even the earliest scenes. He inserts clever and meaningful shots into scenes that other directors might just have filmed straight and his choice of scene and shot compliments the script is depicting Travis descending into madness. What makes the film even better is De Niro showing the type of form that makes his recent form such a major disappointment. He is outstanding as he moves Travis from being relatively normal to being eaten up from the inside out. His eventual implosion is impressive but it is only as impressive as the gradual slide he depicts over the course of the film. Although he dominates it, others impress as well. Foster stands out in a small role, while Keitel makes a good impression as the pimp. Shepherd is not quite as good but her character was not as well written as the others so it isn't all down to her. Regardless, the film belongs to De Niro and although the quotable scenes are the ones that are remembered it is in the quieter moments where he excels and shows genuine talent and understanding.
Overall an impressive and morally depressing film that deserves its place in cinematic history. The portrayal of a city and a man slipping into moral insanity is convincing and engaging and it shows how well to "do" modern madness and the effects of the moral void of parts of society. Scorsese directs as a master despite this being at an early stage in his career and De Niro is chillingly effective as he simply dominates the film in quiet moments and quotable moments alike. I rarely use phrases like "modern classic" because I think they are lazy but this is one film that certainly deserves such a label.
Hardly the most uplifting of films it is engaging and impressive and truly deserves the reputation it has. Martin Scorsese and Paul Schrader have produced a film that convincingly portrays a man cut out of society who has the slightest connection to normality before finding it eroded away. The script is brilliant because the detail is engaging but it is this descent into a very modern type of madness that drives the film forward. Travis has just enough about him that is recognisable that it makes it so easy to go along with the rest of his madness. A major part of this is getting the feeling right about living in a cesspit; a city that seems to have forgotten its way morally New York is the strongest example but elements of it could be parts of any city I suspect. In painting this world in such a real way, Scorsese has made Travis all the more convincing and, to a point, all the easier to follow in his fall. Like I said it is not a film to morally uplift you but one that is depressingly fair. There is no redemption in this modern world and although it appears that the violence at the end somehow redeems Travis in reality by showing "society" accepting his action it drags the rest of us down nearer the world that he hates and has become part of. I love King of Comedy for the same reason albeit in a different world.
Scorsese injects a real understanding of the place and a real sense of foreboding into even the earliest scenes. He inserts clever and meaningful shots into scenes that other directors might just have filmed straight and his choice of scene and shot compliments the script is depicting Travis descending into madness. What makes the film even better is De Niro showing the type of form that makes his recent form such a major disappointment. He is outstanding as he moves Travis from being relatively normal to being eaten up from the inside out. His eventual implosion is impressive but it is only as impressive as the gradual slide he depicts over the course of the film. Although he dominates it, others impress as well. Foster stands out in a small role, while Keitel makes a good impression as the pimp. Shepherd is not quite as good but her character was not as well written as the others so it isn't all down to her. Regardless, the film belongs to De Niro and although the quotable scenes are the ones that are remembered it is in the quieter moments where he excels and shows genuine talent and understanding.
Overall an impressive and morally depressing film that deserves its place in cinematic history. The portrayal of a city and a man slipping into moral insanity is convincing and engaging and it shows how well to "do" modern madness and the effects of the moral void of parts of society. Scorsese directs as a master despite this being at an early stage in his career and De Niro is chillingly effective as he simply dominates the film in quiet moments and quotable moments alike. I rarely use phrases like "modern classic" because I think they are lazy but this is one film that certainly deserves such a label.
Still has the power to shock...
TheLittleSongbird9 January 2011
Not only one of Scorsese's best films, but one of the best of the 70s. It is very hard hitting, dark and still has the resonance and power to shock. The cinematography is measured and chilly, yet very atmospheric, while Bernard Hermann's swansong score is superb, yet more proof at how amazing a composer he was. The story is unsettling but wonderfully told, and the script is brilliantly written. Scorcese also directs impeccably, while the acting is just excellent. Robert DeNiro gives one of his best performances, the whole film is worth watching just for his performance, that's how good it is, but that's not to dismiss Jodie Foster, Harvey Keitel and Cybill Sheppard in the supporting cast for they are just as good while Scorsese's own cameo is genuinely frightening. There you have it, another one of Scorsese's best with a brilliant atmosphere and mesmerising central performance. 10/10 Bethany Cox
Excellent
lost-in-limbo30 October 2004
A lonely Vietnam veteran who has insomnia spends his nights as a taxi driver in the dirty streets of New York, where he encounters a young prostitute who he tries to help make a difference.
This is a very good film and one of Martin Scorsese best (Goodfellas being my fave). An excellent portrayal from Robert De Niro as Travis Bickle the cabbie and good performances from Jodie Foster as the child prostitute Iris Steensman, Cybill Shepherd, Peter Boyle and Harvey Keitel as a pimp called Sport.
You actually get drawn into the isolation and anger that Travis is feeling towards these lowlifes and because of that you really feel sympathy for him. Though after a while the loneliness and the city really starts to haunt Travis's mind, causing violent instincts and paranoia.
This film is filled with such memorable lines e.g.Travis Bickle 'You talking to me? Well I'm the only one here.' and the many powerful scenes that stay in your head after it's finished. The hypnotic cinematography is a standout, as if your seeing the harsh & gritty New York streets and twisted people through the eyes of Travis when he is driving his cab. A great screenplay, a stunning score by Bernard Herrmann and a superb atmosphere created.
This is a brutally compelling and bleak look at a decaying and corrupt society of the 70's. An unsettling gem of a film.
5/5
This is a very good film and one of Martin Scorsese best (Goodfellas being my fave). An excellent portrayal from Robert De Niro as Travis Bickle the cabbie and good performances from Jodie Foster as the child prostitute Iris Steensman, Cybill Shepherd, Peter Boyle and Harvey Keitel as a pimp called Sport.
You actually get drawn into the isolation and anger that Travis is feeling towards these lowlifes and because of that you really feel sympathy for him. Though after a while the loneliness and the city really starts to haunt Travis's mind, causing violent instincts and paranoia.
This film is filled with such memorable lines e.g.Travis Bickle 'You talking to me? Well I'm the only one here.' and the many powerful scenes that stay in your head after it's finished. The hypnotic cinematography is a standout, as if your seeing the harsh & gritty New York streets and twisted people through the eyes of Travis when he is driving his cab. A great screenplay, a stunning score by Bernard Herrmann and a superb atmosphere created.
This is a brutally compelling and bleak look at a decaying and corrupt society of the 70's. An unsettling gem of a film.
5/5
A Shattering Tale In First Person Singular
willandthomas-picturehou11 October 2007
The impact that "Taxi Driver" had in its day hasn't diminished, on the contrary, it has acquired a relevance of Shakesperean proportions. Travis's loneliness is a hyper representation of the same loneliness most humans have experienced at different times in different measures. It is always associated with a nightmare and Martin Scorsese delivers it like a nightmare. Travis, possessed by Robert De Niro at the zenith of his powers, cruises in his taxi enveloped in Bernard Herrman and we, well, we're the passengers and everything looks terrifying and familiar at the same time. Paul Schrader sensational screenplay comes to life with the jolting force of a rude awakening. Like it happens, more often than not, with masterpieces, it signed in a rather direct way the lives of the ones who live it in a movie theater and the ones who made it. Scorsese being the giant that he is, survived it and will continue startling us I'm sure but I also bet that for years everything he did was compared to this movie. De Niro and his "You looking at me" became such an iconic phrase that even he himself ended up impersonating it. Jodie Foster awoke the insane devotion of a real life would be killer and New York, the greatest city in the world was shown with its underbelly up. A work of art, a superlative reminder of what film could actually give us and very rarely does.
Did I Miss Something?
MamadNobari9710 May 2021
Did I miss something or this movie doesn't have any purpose?
Do people just call this a masterpiece just for the sake of it?
I've seen old movies like Clockwork Orange that people consider "weird" and liked it and even find this one weirder than that! And the only reason I'm giving a 6 and not a 5 is because of De Niro's acting.
With all the "masterpiece", "such a great film" "revolutionary masterpiece of a film" I heard about it I was expecting to be blown away by the story and dialogue, but there's near to no story here other than an incel's journey to being a hero!
The dialogue is bafflingly bad and empty, I was expecting great dialogue from this one but it's just not there. Just go and watch the scene with Travis talking to the other taxi driver on the street and see what I mean. It's a 5 minute of nothing. The whole dialogue is "well I mean.... It's just.... I mean.... well.... yeah.... you know...". Like what!?
The interaction of characters with each other is just awkward.
The movie is also a little boring, and don't use that word about movies lightly because I've seen a handful of long movies with stretched scenes and long dialogue scenes and wasn't boring for me but this one is just on another level.
And what was that ending? Is Travis supposed to be the hero now? Really?
What an utter disappointment this movie was, all these years hearing about it and thinking it's one of the classics and then finally watching it like this...
Do people just call this a masterpiece just for the sake of it?
I've seen old movies like Clockwork Orange that people consider "weird" and liked it and even find this one weirder than that! And the only reason I'm giving a 6 and not a 5 is because of De Niro's acting.
With all the "masterpiece", "such a great film" "revolutionary masterpiece of a film" I heard about it I was expecting to be blown away by the story and dialogue, but there's near to no story here other than an incel's journey to being a hero!
The dialogue is bafflingly bad and empty, I was expecting great dialogue from this one but it's just not there. Just go and watch the scene with Travis talking to the other taxi driver on the street and see what I mean. It's a 5 minute of nothing. The whole dialogue is "well I mean.... It's just.... I mean.... well.... yeah.... you know...". Like what!?
The interaction of characters with each other is just awkward.
The movie is also a little boring, and don't use that word about movies lightly because I've seen a handful of long movies with stretched scenes and long dialogue scenes and wasn't boring for me but this one is just on another level.
And what was that ending? Is Travis supposed to be the hero now? Really?
What an utter disappointment this movie was, all these years hearing about it and thinking it's one of the classics and then finally watching it like this...
Scorsese's dark masterpiece of urban alienation
TomC-52 November 1999
Despite what some might see as limited by technical flaws and/or as an overly simplistic plot, Taxi Driver deserves its critical reputation as a cinematic masterpiece. Some 23 years later, the existential plight of Travis Bickle, "God's lonely man," continues to pack a hard emotional punch. In fact, it's hard to know where to begin when praising the elements of this film - such elements as the dark location shots of a (now gone) seedy Times Square, the cinema verite settings of the cabbies and campaign workers, the magnificent Bernard Hermann score, Paul Schrader's fine script, the memorable performances of Jodie Foster, Harvey Keitel, and Peter Boyle all must be mentioned. However, the brilliance of this film is primarily a result of the brilliance of De Niro and Scorsese, one of the greatest actor-director teams in movie history. This is an unforgettable film and rates a 10 out of 10, in my estimation.
You'll love the mood.. but is the ending worth 2 hours of build up?
energyzeezo17 April 2017
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.
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.
A story about a lonely man
david_vigues16 May 2004
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.
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.
Disturbing Look into a Disturbed Mind
SnoopyStyle5 September 2013
Travis Bickle (Robert DeNiro) is a disturbed ex-Marine Vietnam vet. He's suffering from insomnia, and spends his nights driving a cab. He's sexually perverted, and obsessed with Betsy (Cybill Shepherd). On top of it all, he wants to save 12 year old prostitute Iris (Jodie Foster).
DeNiro delivered one of the iconic performances of all times. Travis Bickle is one of the standards by which all performances are judged. Martin Scorsese is making a disturbing movie. It can be hard to watch at times. Scorsese uses his camera to maximum effect. As Bickle's mind drift from his co-workers, Scorsese's camera drift into the antacid fizzling in his glass. The grittiness of '70s NY is all there. Jodie Foster is shocking. Trying to watch Bickle can be a very trying experience. It isn't an easy movie. But it is a masterpiece.
DeNiro delivered one of the iconic performances of all times. Travis Bickle is one of the standards by which all performances are judged. Martin Scorsese is making a disturbing movie. It can be hard to watch at times. Scorsese uses his camera to maximum effect. As Bickle's mind drift from his co-workers, Scorsese's camera drift into the antacid fizzling in his glass. The grittiness of '70s NY is all there. Jodie Foster is shocking. Trying to watch Bickle can be a very trying experience. It isn't an easy movie. But it is a masterpiece.
One of my favorite Movies!
MovieCinematography1 November 2020
Taxi Driver is a Neo-Noir crime drama, directed by Martin Scorsese. It is starring Robert de Niro and Jodie Foster and is about a mentally unstable taxi driver who feels a need for violent action and wants to help a young woman to escape from her bad situation. It takes place in late 70s New York when the city wasn't the nice clean city as we know it today but it was a city full of criminals and unemployment. Taxi Driver is a really interesting character study and although it's slow paced it doesn't feel boring. Although the first two acts are slow paced, the final act is very thrilling and brutal. The ending makes you keep guessing. The Soundtrack composed by Bernard Herrmann captures that feeling of 70s New York very well. It has very beautiful cinematography which is very dark and rainy the whole time which sets a great mood for the film. The best thing about this movie is by far Robert de Niro's performance. He does a very good job at portraying this mentally unstable veteran, who can't fit in the society anymore. Taxi Driver has very long dialogues that are well-written.
Gut Wrenching
Hitchcoc22 February 2007
It's interesting to read the reviews by people who really disliked this film. Can we dislike virtually every character in a movie and yet keep watching it, even respect it? I don't have a definitive answer to this, but I was captivated by this film. I get this feeling every time I see films that glorify organized crime. DeNiro's performance so surpasses any doubt as to the content of this film that I couldn't take my eyes off him. Contrary to the critics, his every expression reveals his skill as an actor. While his motivations are confusing, they are his motives. He is an unbalanced war survivor who can't tolerate the cesspool the world has become. I mean, "What did I fight for?" His social skills are wasted. When he goes on the date, it's one of the most uncomfortable moments I've ever spent in a theater. The efforts to save a small part of his world is met with disdain and resistance. So he flips out and decides to clean it up himself. He is suspicious of politicians and authority figures. He becomes his own man and takes matters into his own hands. The key thing is that he is true to himself and even though he is a frightening figure, he gets his way. I guess most think he should have been killed. That's not a valid criticism. See this, but be prepared to keep changing positions in your seat.
Didn't do it for Me - De Niro's Performance is the Only Real Highlight
alexcole1013 June 2020
As much as I love Scorsese, Taxi Driver did not appeal to me.
For me the film was quite dull and boring with little suspense, drama and extremely slow pacing.
I'm intrigued to know why this film was nominated for 4 Academy Awards, as well as its ongoing rave as a classic.
Perhaps I missed the point of the movie, as I was waiting it to end from half way through.
However I did notice some positives. Firstly it is clear, De Niro's performance as a troubled veteran-turned-taxi driver was masterful, and he showed a clear character development during the film. Another positive for me is the aesthetics of New York, as its darker sides are shown. Lastly the score was one that stood out for me, with relaxing music in scenes of driving.
6/10 - a good effort, but too much caution over ensuring not too quick pacing.
For me the film was quite dull and boring with little suspense, drama and extremely slow pacing.
I'm intrigued to know why this film was nominated for 4 Academy Awards, as well as its ongoing rave as a classic.
Perhaps I missed the point of the movie, as I was waiting it to end from half way through.
However I did notice some positives. Firstly it is clear, De Niro's performance as a troubled veteran-turned-taxi driver was masterful, and he showed a clear character development during the film. Another positive for me is the aesthetics of New York, as its darker sides are shown. Lastly the score was one that stood out for me, with relaxing music in scenes of driving.
6/10 - a good effort, but too much caution over ensuring not too quick pacing.
Best Hero/Anti-Hero movie ever! Masterpiece!
punkadelic78130 October 2020
I've gotta say! Didnt't quite like it the first, it took me a second view to truly appreciate the genius of this movie. De Niro is just outstanding as Travis, and Scorsese is in top form too, only maybe rivaled by Goodfellas and The Wolf of Wall Street. It is not a action, crazy plot-twists, guy meets girl, happy ending kind of movie. What it is, is one of the best character studies and acting ever done. Something to identify with to the unindefiable, a study of what society does to people. A anti-hero bloody masterpiece.
I would have given more space to the story of the young girl.
pinocchietto21 May 2020
I expected more. I would have given more space to the story of the young prostitute girl whom the protagonist tries to help. The relationship between him and her seems to me more important and interesting than that with the woman the taxi driver would like to conquer.
An older style of cinema.
morrisman-jm30 May 2021
A much older, slow burn style movie leading to a peak and focusing on character development. I can see how it doesn't appeal to other younger people with how fast paced modern cinema is. But I think it is important to watch this film as it perfectly captures a very different and grimy New York, as well as displaying one mans downward spiral in such a disturbing way.
Excellent de Niro and Scorsese again.
khuriwal11 October 2020
Live it and lose it
cinevox15 January 2003
Scorsese's best. Not too many hyper-critical reviews of this film have anything near as intelligent to say about what the director and the screenwriter had in mind when they created this American gem.
To those people that have seen it and thought it was "slow" or the pacing was sub par, they don't know what they're talking about; "Taxi Driver" is about the gradual and eventual take-over of insanity, and not about violence, action-shoot-'em-up 'slash' car chase... or whatever they expected from it. The modern audience today is expecting everything--comedy, drama, unbearable suspense, spfx--all rolled-up into one-stop entertainment... and no, I'm not anybody's grandfather, or here to tell you that movies were great in my day, but, viewers, lighten up already.
De Niro, and the rest of the cast, do a serviceable job in this micro-cosmic window into the life of Travis Bickle--a Vietnam vet--who, true, writes mind-numbing entries in his diary, leads a, for the most part, dull existance as a cabbie, and strikes out with a female political campaigner who, after Travis becomes a hero, discovers she is indeed attracted to unstable, sometimes violent chauffeurs.
The rest of this movie's story is for the less initiated viewer; decide whether you've truly become desensitized to sexual and violent content in today's films... Ah, forget it! You have to have lived at least some of which goes on in "Taxi Driver," or you've just been plain lucky in this life so far.
To those people that have seen it and thought it was "slow" or the pacing was sub par, they don't know what they're talking about; "Taxi Driver" is about the gradual and eventual take-over of insanity, and not about violence, action-shoot-'em-up 'slash' car chase... or whatever they expected from it. The modern audience today is expecting everything--comedy, drama, unbearable suspense, spfx--all rolled-up into one-stop entertainment... and no, I'm not anybody's grandfather, or here to tell you that movies were great in my day, but, viewers, lighten up already.
De Niro, and the rest of the cast, do a serviceable job in this micro-cosmic window into the life of Travis Bickle--a Vietnam vet--who, true, writes mind-numbing entries in his diary, leads a, for the most part, dull existance as a cabbie, and strikes out with a female political campaigner who, after Travis becomes a hero, discovers she is indeed attracted to unstable, sometimes violent chauffeurs.
The rest of this movie's story is for the less initiated viewer; decide whether you've truly become desensitized to sexual and violent content in today's films... Ah, forget it! You have to have lived at least some of which goes on in "Taxi Driver," or you've just been plain lucky in this life so far.
An Unforgettable Movie and Lead Character
ccthemovieman-13 April 2006
"Travis Bickle" has to be one of the most fascinating characters ever put on film, and this has to still rank as one of the best post-film noir era "noirs" ever made.
Yeah the story is a bit seedy but it's an incredibly interesting portrait of a mentaly unbalanced cab driver (Bickle, played by Robert De Niro) and his obsessions with "cleaning up" New York City.
In addition to De Niro's stunning performance, we see a young and gorgeous Cybill Shepherd and a very, very young (12 years old) Jodie Foster. I've always wondered what kind of parents would allow their 12-year-old daughter to play a role like this, but that's another subject. Albert Brooks, Harvey Keitel (with shoulder-length hair!) and Peter Boyle all lend good supporting help.
Bickle's transformation from a "disturbed" cabbie to a fully-deranged assassin is fantastic to watch, and includes one of the classic scenes in all film history: Bickle talking to the mirror and repeating the question, "You talking' to me?" That scene, and seeing De Niro in a Mohawk haircut later at a political rally are two scenes I'll never forget.
The more times I've watched this, the more I appreciate the cinematography and the music in here. There are some wonderful night shots of the city's oil and rain-slicked streets. Also, Bernard Herrmann eerie soundtrack is an instrumental part of the success of this film and should never be neglected in discussing this film.
Director Martin Scorcese has made a number of well-known (but not particularly box-office successful) films, and I still think this early effort of his was his best. He's never equaled it, although I think he and De Niro almost pulled it off five years later with another whacked-out character, "Rupert Pupkin" In "The King Of Comedy."
In any case, there is no debate that Scorcese and De Niro are a great team and that Taxi Driver is one of the most memorable movies of the Seventies.
Yeah the story is a bit seedy but it's an incredibly interesting portrait of a mentaly unbalanced cab driver (Bickle, played by Robert De Niro) and his obsessions with "cleaning up" New York City.
In addition to De Niro's stunning performance, we see a young and gorgeous Cybill Shepherd and a very, very young (12 years old) Jodie Foster. I've always wondered what kind of parents would allow their 12-year-old daughter to play a role like this, but that's another subject. Albert Brooks, Harvey Keitel (with shoulder-length hair!) and Peter Boyle all lend good supporting help.
Bickle's transformation from a "disturbed" cabbie to a fully-deranged assassin is fantastic to watch, and includes one of the classic scenes in all film history: Bickle talking to the mirror and repeating the question, "You talking' to me?" That scene, and seeing De Niro in a Mohawk haircut later at a political rally are two scenes I'll never forget.
The more times I've watched this, the more I appreciate the cinematography and the music in here. There are some wonderful night shots of the city's oil and rain-slicked streets. Also, Bernard Herrmann eerie soundtrack is an instrumental part of the success of this film and should never be neglected in discussing this film.
Director Martin Scorcese has made a number of well-known (but not particularly box-office successful) films, and I still think this early effort of his was his best. He's never equaled it, although I think he and De Niro almost pulled it off five years later with another whacked-out character, "Rupert Pupkin" In "The King Of Comedy."
In any case, there is no debate that Scorcese and De Niro are a great team and that Taxi Driver is one of the most memorable movies of the Seventies.
A classic Scorcese/DeNiro Film.
rdhceo15 October 2020
Those who did not understand this film and gave it a poor rating are likely the same "people" who raved over The Joker or Blade Runner 2049. If you cannot comprehend this plot, you should most likely take up another hobby; or just stick to watching Pokemon movies. Real films do not hold your hand like a child and walk you to the restroom.
I liked it but I didn't find it to be amazing
IamROCKAS12 May 2021
Taxi Driver is another high-rated classic that kept getting on my radar from time to time. It is beloved by many, adored by most viewers but to me, it's just good. I've stated this before during some of my reviews but I'm just not a fan of shootouts, especially when they display Terminator-like stamina and endurance when getting shot or injured in some way. It's like watching an anime character getting beaten to the grown and seeing them regain all their power again in a blink of an eye just to save the day. Of all those that I didn't like though, I'd say this is the best. Mostly because of the aftermath where Travis did the finger gun motion at his skull upon the arrival of policemen. He did it in a crazy, a bit surreal even, fashion that ended up being the most memorable scene in the movie.
Other than that, this felt like a hang-out movie from the perspective of a slightly depressed insomniac. There wasn't really a clear direction that this movie took. I thought it be a love story when Betsy was introduced but then she was present for only 10% of the movie, most likely even less. I thought this could be a story about hardships in New York and how the society and many micro-societies live along, fight and interact with violent and non-violent tendencies in mind but it only involved minor plotlines. I thought this could be about saving a young woman from being dragged situation where she is just used as an object to exploit but then again that was only the latter half or three-sevenths of the movie. If someone would ask me what this movie is about, I'd just mention Travis and what he has to deal with but in New York City. That answer would be as ambiguous as the actual plot.
Speaking of Betsy and Iris, whose name I didn't mention in the last paragraph, both of these actresses impressed me as much as Travis, played by none other than Robert De Niro. Betsy was played by Cybill Shepherd and even though she didn't have a lot of screen time, it was really memorable. Not just for her looks but also her charm and her wit. She delivered my favorite lines of the movie when she quoted Kris Kristofferson and her appearance in the final scene of the movie, although surprising, helped to end the movie in a good tone. Jodie Foster played Iris and she impressed me in a similar way that Matilda impressed me in Léon: The Professional (1994). Being only 14-year-old when the movie was released (I believe she was 13 when it was filmed), she played a really mature role perfectly. I thought it was a joke when Sport said she's only twelve but I was shocked to find out that she was actually really close to that age as she looked like she's in her mid or late teens. With Matilda, I really didn't expect it as then I thought she was a grown actress playing the role of child, I was even more wrong there. And moving on from that, I still want to talk about Robert De Niro. I got to know him from roles that portray him as badass, sometimes the bad guy that I just can't help but root for. Seeing him in a bit of a more somber role was a good exchange as I got something different from him but I just wasn't really the biggest fan of Travis, to be honest. I've heard some people say that this is the best De Niro performance but I'm not sure. It might be but I just didn't like the character he portrayed. I liked HOW he portrayed him, I just didn't like the character himself. Confusing? Yet, it is.
The last thing I want to talk about is the music here. Of course, it has one of the sexiest soundtracks there is and it's a big part of why I might get back to this movie sometime in the future. The main theme is composed by Bernard Herrmann, who also was in the music department of all-time classic movies like Psycho (1960), Vertigo (1958), and North by Northwest (1959). Letterboxd recognized 58 movies with his at the composer and his work is just stunning, I should definitely just look into his compositions one day. The main theme hits us with fun with a jazzy romantic melody that just brightens the mood every time it comes up. Unless it comes up during Sport (I believe his name in the movie was Michael) acts like a creep towards Iris with this song in the background... yes, it didn't really work for that scene and it almost made it lose its charm for me but a few scenes in the future acted like a rebound and got that charm back in my eyes.
Overall, Taxi Driver was a good movie that just didn't interest me that much. It got a lot of good things about it but nothing that made me overly excited. There's nothing that makes me think of it as a bad movie either. This places it along with Léon: The Professional (1994), who I mentioned before. I like both of those movies but the action they displayed just isn't for me, I liked the human elements of these movies more. They're still good movies (look at me, repeating myself) but I just can't look at them as amazing.
Other than that, this felt like a hang-out movie from the perspective of a slightly depressed insomniac. There wasn't really a clear direction that this movie took. I thought it be a love story when Betsy was introduced but then she was present for only 10% of the movie, most likely even less. I thought this could be a story about hardships in New York and how the society and many micro-societies live along, fight and interact with violent and non-violent tendencies in mind but it only involved minor plotlines. I thought this could be about saving a young woman from being dragged situation where she is just used as an object to exploit but then again that was only the latter half or three-sevenths of the movie. If someone would ask me what this movie is about, I'd just mention Travis and what he has to deal with but in New York City. That answer would be as ambiguous as the actual plot.
Speaking of Betsy and Iris, whose name I didn't mention in the last paragraph, both of these actresses impressed me as much as Travis, played by none other than Robert De Niro. Betsy was played by Cybill Shepherd and even though she didn't have a lot of screen time, it was really memorable. Not just for her looks but also her charm and her wit. She delivered my favorite lines of the movie when she quoted Kris Kristofferson and her appearance in the final scene of the movie, although surprising, helped to end the movie in a good tone. Jodie Foster played Iris and she impressed me in a similar way that Matilda impressed me in Léon: The Professional (1994). Being only 14-year-old when the movie was released (I believe she was 13 when it was filmed), she played a really mature role perfectly. I thought it was a joke when Sport said she's only twelve but I was shocked to find out that she was actually really close to that age as she looked like she's in her mid or late teens. With Matilda, I really didn't expect it as then I thought she was a grown actress playing the role of child, I was even more wrong there. And moving on from that, I still want to talk about Robert De Niro. I got to know him from roles that portray him as badass, sometimes the bad guy that I just can't help but root for. Seeing him in a bit of a more somber role was a good exchange as I got something different from him but I just wasn't really the biggest fan of Travis, to be honest. I've heard some people say that this is the best De Niro performance but I'm not sure. It might be but I just didn't like the character he portrayed. I liked HOW he portrayed him, I just didn't like the character himself. Confusing? Yet, it is.
The last thing I want to talk about is the music here. Of course, it has one of the sexiest soundtracks there is and it's a big part of why I might get back to this movie sometime in the future. The main theme is composed by Bernard Herrmann, who also was in the music department of all-time classic movies like Psycho (1960), Vertigo (1958), and North by Northwest (1959). Letterboxd recognized 58 movies with his at the composer and his work is just stunning, I should definitely just look into his compositions one day. The main theme hits us with fun with a jazzy romantic melody that just brightens the mood every time it comes up. Unless it comes up during Sport (I believe his name in the movie was Michael) acts like a creep towards Iris with this song in the background... yes, it didn't really work for that scene and it almost made it lose its charm for me but a few scenes in the future acted like a rebound and got that charm back in my eyes.
Overall, Taxi Driver was a good movie that just didn't interest me that much. It got a lot of good things about it but nothing that made me overly excited. There's nothing that makes me think of it as a bad movie either. This places it along with Léon: The Professional (1994), who I mentioned before. I like both of those movies but the action they displayed just isn't for me, I liked the human elements of these movies more. They're still good movies (look at me, repeating myself) but I just can't look at them as amazing.
Very good but flawed
cknob-14 October 2008
Great atmosphere and remarkable performances from DeNiro, Foster and even Albert Brooks but this film is sloppy with too many loose ends. Never really explained or expanded upon is the underlying friction between Travis and African Americans in the film...his suspicious, trance-like staredowns with black characters are never developed. The ending is completely out of place and unbelievable...Travis initiated the shootings...he never would have been hailed as a vigilante hero and in the real world would have been tried for murder. Deeply disturbed protagonist gets the girl in the end???? Come on. What's that all about. Also never fully explained is why does Palentine become the target of his lonely obsession with making a mark in this world? Travis had always expressed the desire to clean up the scum...and I understand the symbolic linking of a pimp with a politician, but the association is sloppy in the film because Travis always admired Palantine even after his disaster date with Betsy. There was never a turning point or event for him where the candidate became the target of his social dissatisfaction. And then there's the subject of Travis' hair. I know it seems petty but it was very distracting seeing scenes that were obviously shot as soon as the shaved headed DeNiro's hair grew in barely enough to pass for continuity with the earlier scenes.
In all, I like this film. I think it's powerful and disturbing but it is not an icon or masterpiece. In its day, it was so groundbreaking that many of its flaws received a pass. 7out of 10
In all, I like this film. I think it's powerful and disturbing but it is not an icon or masterpiece. In its day, it was so groundbreaking that many of its flaws received a pass. 7out of 10
Best movie of the Seventies, and one of the greatest of all time.
Infofreak4 June 2002
So much has been written and talked about 'Taxi Driver' that it seems almost redundant to add anything more. But watching it again the other night for the nth time I was, as I have been every single time I've seen it, struck by just how perfect this movie is. It is as powerful and disturbing now as it was twenty-five years ago. It has not only NOT aged, it gets better and more relevant every year. This is without doubt a modern classic, and one of the handful of truly great, timeless movies.
Scorsese and Schrader went on to make other great movies after this, both separately ('The King Of Comedy', 'Light Sleeper') and together ('Raging Bull', 'The Last Temptation Of Christ'), but this is easily the best movie of their careers. And Robert De Niro's too. He has yet to top his stunning performance here as the deeply disturbed and alienated Vietnam veteran Travis Bickle, cabbie and would be assassin. This character has not surprisingly entered movie legend.
Scorsese surrounds De Niro with a first rate supporting cast, including small but effective roles from Harvey Keitel ('Reservoir Dogs'), Peter Boyle ('Hardcore'), the underrated Victor Argo ('The King Of New York') and Joe Spinell ('Maniac'). Albert Brooks and Jodie Foster are also very good, and even Cybil Shepherd, the butt of many jokes, is fine as Bickle's obsession.
When you combine these actors, Schrader's outstanding script, and Scorsese's brilliant direction, with the stunning cinematography (Michael Chapman) and haunting score (Hitchcock fave Bernard Herrmann's final effort), you have yourself a truly unforgettable cinematic experience. If you haven't seen 'Taxi Driver' I urge you to do so immediately. It is a masterpiece, pure and simple.
Scorsese and Schrader went on to make other great movies after this, both separately ('The King Of Comedy', 'Light Sleeper') and together ('Raging Bull', 'The Last Temptation Of Christ'), but this is easily the best movie of their careers. And Robert De Niro's too. He has yet to top his stunning performance here as the deeply disturbed and alienated Vietnam veteran Travis Bickle, cabbie and would be assassin. This character has not surprisingly entered movie legend.
Scorsese surrounds De Niro with a first rate supporting cast, including small but effective roles from Harvey Keitel ('Reservoir Dogs'), Peter Boyle ('Hardcore'), the underrated Victor Argo ('The King Of New York') and Joe Spinell ('Maniac'). Albert Brooks and Jodie Foster are also very good, and even Cybil Shepherd, the butt of many jokes, is fine as Bickle's obsession.
When you combine these actors, Schrader's outstanding script, and Scorsese's brilliant direction, with the stunning cinematography (Michael Chapman) and haunting score (Hitchcock fave Bernard Herrmann's final effort), you have yourself a truly unforgettable cinematic experience. If you haven't seen 'Taxi Driver' I urge you to do so immediately. It is a masterpiece, pure and simple.
Martin Scorsese's Hypnotic, Paranoia Fueled Masterpiece
BenT1729 June 2020
Taxi Driver is one of the most acclaimed movies ever made. The 1976 Martin Scorsese Masterpiece is as studied and reveled today as it ever was and for good reason. Taxi Driver is one of the greatest movies I've ever seen and the hypnotic story of a man losing his grip on sanity is truly one of the most captivating movies ever made.
The movie itself is a study. It is obviously a "character study" but the film itself is a synopsis of the human psyche, rage, hypocrisy, melancholy, loneliness, obsession with violence, and its glorification in the media. This is all seen through the jaded lens of anti-hero Travis Bickle played in incredible fashion by Robert De Niro. De Niro's mesmerizing performance is truly one of the best ever put to screen. It is captivating in every sense of the word. He captures the essence of the character and makes Travis Bickle all the more enthralling, and for a film like this that is more than essential.
This movie draws you in like no other. From Bernard Herman's score, to the mesmeric editing, to Scorsese's masterful direction, this movie forces you to relate to this deeply troubled character. The movie is so hypnotic that much of the film you want to look away, but to turn your head for a second would be near impossible. That's how much this movie's atmosphere takes you in, it is top notch in that.
The movie showcases Travis' destructive attempt to escape his own isolation, social incapability, and to achieve self imposed vigilantism. The movie is a slow burning stick of dynamite, burning with flames paranoia and alienation until it explodes in one of the fieriest and explosive climax's in cinematic history. The movie isn't really about Travis' war on the inhumane pimps, it is about delusion, rage, social detachment, paranoia, obsession, violence, and how it can drive a man crazy.
The resolution to this movie is also really fascinating. Its meaning has been the source for many discussions but the reason I love it so much is how it plays off the rest of the film. I quote no other than screenwriter of the movie Paul Schradar himself, "I've always felt that the last frame can be spliced to the first frame and the movie started all over again." Pure genius.
This movie is really incredible and it just gets better each time you watch it. I truly recommend this film. The famous quote from the movie is "You talkin' to me? Well I'm the only one here." In Travis' case he couldn't be more right. "I'm the only one here."
The movie itself is a study. It is obviously a "character study" but the film itself is a synopsis of the human psyche, rage, hypocrisy, melancholy, loneliness, obsession with violence, and its glorification in the media. This is all seen through the jaded lens of anti-hero Travis Bickle played in incredible fashion by Robert De Niro. De Niro's mesmerizing performance is truly one of the best ever put to screen. It is captivating in every sense of the word. He captures the essence of the character and makes Travis Bickle all the more enthralling, and for a film like this that is more than essential.
This movie draws you in like no other. From Bernard Herman's score, to the mesmeric editing, to Scorsese's masterful direction, this movie forces you to relate to this deeply troubled character. The movie is so hypnotic that much of the film you want to look away, but to turn your head for a second would be near impossible. That's how much this movie's atmosphere takes you in, it is top notch in that.
The movie showcases Travis' destructive attempt to escape his own isolation, social incapability, and to achieve self imposed vigilantism. The movie is a slow burning stick of dynamite, burning with flames paranoia and alienation until it explodes in one of the fieriest and explosive climax's in cinematic history. The movie isn't really about Travis' war on the inhumane pimps, it is about delusion, rage, social detachment, paranoia, obsession, violence, and how it can drive a man crazy.
The resolution to this movie is also really fascinating. Its meaning has been the source for many discussions but the reason I love it so much is how it plays off the rest of the film. I quote no other than screenwriter of the movie Paul Schradar himself, "I've always felt that the last frame can be spliced to the first frame and the movie started all over again." Pure genius.
This movie is really incredible and it just gets better each time you watch it. I truly recommend this film. The famous quote from the movie is "You talkin' to me? Well I'm the only one here." In Travis' case he couldn't be more right. "I'm the only one here."
You Talking To Me?
mateusolivotti9 October 2020
We certainly have here one of Martin Scorsese's best and most striking films, one of Robert De Niro's best performances and one of the biggest Oscar wrongdoers of 1977, in which the film ran for four categories, including best film, but won none. . Certainly one of the things that stands out the most is the New York setting, the city is practically a character in the film, the soundtrack is also great, the direction of Scorsese needs no comments, and the feature has what is in my opinion the best character study in the history of cinema. Judie Foster also looks great in the film, showing that at just twelve years of age she was an excellent actress, and even received an Oscar nomination for best supporting actress. Absolutely fantastic film in all aspects.
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