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Running time 113 minutes Country United States Language English Budget $1.9 million Box office $28.3 million Taxi Driver is a 1976 American directed by, written by, and starring, and. Set in a decaying following the, the film tells the story of a lonely veteran (De Niro) working as a driver, who descends into insanity as he plots to assassinate a presidential candidate (Harris) and then the pimp (Keitel) of an (Foster) whom he befriends. Critically acclaimed upon release and nominated for four, including, Taxi Driver won the at the. It is regularly cited by critics, film directors, and audiences alike as one of.
In 2012, named it the 31st-best film ever in its decennial, ranked with, and the fifth-greatest film of all time on its directors' poll. The film was considered 'culturally, historically or aesthetically' significant by the US and was selected for preservation in the in 1994. Contents.
Plot Travis Bickle, a 26-year-old, is a lonely, young man living in isolation in. He takes a job as a taxi driver to cope with his, driving passengers every night around the city's.
He also frequents the on and keeps a diary in which he consciously attempts to include, such as 'You're only as healthy as you feel.' Travis becomes infatuated with Betsy, a campaign volunteer for Senator and presidential candidate Charles Palantine. After watching her interact with fellow worker Tom through her window, Travis enters to volunteer, as a pretext to talk to her, and takes her out for coffee.
Ang Istorya Ng Taxi Driver Synopsis
On a later date, he takes her to see a pornographic film, which offends her, and she goes home alone. His attempts at reconciliation by sending flowers are rebuffed, so he berates her at the campaign office, before being kicked out by Tom. Travis confides in fellow taxi driver Wizard about his thoughts, which are beginning to turn violent; however, Wizard assures him that he will be fine, leaving Travis to his own destructive path. Travis is disgusted by the sleaze, dysfunction, and prostitution that he witnesses throughout the city. His worldview is furthered when an adolescent prostitute and runaway, Iris, enters his cab, attempting to escape her, Sport.
Ang Kwento Ng Taxi Driver Summary
Sport drags Iris from the cab and throws him a crumpled $20 bill, which continually reminds Travis of her and the corruption that surrounds him. In attempting to find an outlet for his frustrations, Travis begins a program of intense physical training. A fellow taxi driver refers him to an illegal gun dealer, 'Easy' Andy, from whom Travis buys several handguns.
At home, Travis practices his weapons, and modifies one to allow him to hide and quickly deploy it from his. One night, Travis enters a convenience store moments before an attempted armed robbery, and he fatally shoots the robber. The shop owner takes credit for the deed, taking Travis' handgun.
Later, Travis encounters Iris again and hires her, but attempts to dissuade her from continuing in prostitution rather than having sex with her. He fails to completely turn her from her course, but she does agree to meet with him for breakfast the next day.
Travis leaves a letter to Iris at his apartment saying he will soon be dead, and money for her to return home. After shaving his head into a, Travis attends a public rally where he plans to assassinate Palantine, but agents notice him with his hand in his coat and chase him off. Travis flees and later goes to the to invade Sport's brothel. A violent gunfight ensues, and Travis kills Sport, a bouncer, and a; Travis is severely injured, sustaining multiple gunshot wounds. Iris witnesses the fight and, hysterical with fear, pleads with Travis to stop the killing. After the gunfight, Travis attempts suicide, but has run out of ammunition and resigns himself to lying on a sofa. When the police arrive, he places his index finger against his temple, pantomiming the act of shooting himself.
Having recovered from his wounds and returned to work, Travis finds himself hailed as a local hero in the press for shooting the three men. Might and magic heroes 6 shades of darkness crack download. He receives a letter from Iris' father, thanking him for saving her life and revealing that she has returned home to, where she is going to school. Later, Travis reconciles with Betsy when dropping her off at her home in his cab. When she tries to pay her fare, he smiles at her and turns off the meter. As Travis drives off, he suddenly becomes agitated after noticing something in his rear-view mirror. as Travis Bickle.
as Iris. as Sport. as Betsy. as Tom. as Charles Palantine. as Wizard. Steven Prince as Andy, Gun Salesman Production According to Scorsese, it was who introduced him to Schrader.
In Scorsese on Scorsese, the director talks about how much of the film arose from his feeling that movies are like dreams or drug-induced reveries. He admits attempting to incubate within the viewer the feeling of being in a limbo state somewhere between sleeping and waking. He calls Travis an 'avenging angel' floating through the streets of a New York City intended to represent all cities everywhere. Scorsese calls attention to improvisation in the film, such as in the scene between De Niro and Cybill Shepherd in the coffee shop. The director also cites 's and Jack Hazan's A Bigger Splash as inspirations for his camerawork in the movie. In Scorsese on Scorsese, the director mentions the religious in the story, comparing Bickle to a saint who wants to cleanse or purge both his mind and his body of weakness. Bickle attempts to kill himself near the end of the movie as a tribute to the 's ' principle.
When Travis meets Betsy to join him for coffee and pie, she is reminded of a line in 's song: 'He's a prophet and a pusher, partly truth, partly fiction—a walking contradiction.' On their date, Bickle takes her to see a Swedish 'sex education' film, which is in fact the American sexploitation film Sexual Freedom in Denmark with added Swedish sound. Shot during a New York City summer and in 1975, Taxi Driver came into conflict with the for its violence (Scorsese de-saturated the color in the final shoot-out, and the film got an R rating). To achieve the atmospheric scenes in Bickle's cab, the sound men would get in the trunk and Scorsese and his cinematographer, would ensconce themselves on the back seat floor and use available light to shoot.
Chapman admitted the filming style was greatly influenced by filmmaker and his cinematographer due to the fact the crew did not have the time nor the money to do 'traditional things.' In writing the script, Schrader was inspired by the diaries of (who shot presidential candidate in 1972) and 's. The writer also used himself as inspiration; in a 1981 interview with Tom Snyder on the 'Tomorrow' show, Schrader related his experience living in New York City while battling chronic insomnia, which led him to frequent pornographic bookstores and theaters because they remained open all night. Following a divorce and a breakup with a live-in girlfriend, he spent a few weeks living in his car. He wrote the script in under a month while staying in his former girlfriend's apartment while she was away. Schrader decided to make Bickle a Vietnam vet because the of the war seemed to blend perfectly with Bickle's paranoid psychosis, making his experiences after the war more intense and threatening. Thus, Bickle chooses to drive his taxi anywhere in the city as a way to feed his hate.
While preparing for his role as Bickle, De Niro was filming 's in Italy. According to Boyle, he would 'finish shooting on a Friday in Rome.
Get on a plane. and fly to New York.' De Niro obtained a cab driver's license, and when on break would pick up a cab and drive around New York for a couple of weeks, before returning to Rome to resume filming 1900. De Niro apparently lost 35 pounds and listened repeatedly to a taped reading of the diaries of Arthur Bremer.
When he had time off from shooting 1900, De Niro visited an army base in and tape-recorded soldiers from the, whose accents he thought might be appropriate for Travis's character. When Bickle decides to assassinate Senator Palantine, he cuts his hair into a. This detail was suggested by actor, a friend of Scorsese's who had a small role as a agent and who had served in Vietnam. Scorsese later noted: Magnotta had talked about certain types of soldiers going into the. They cut their hair in a certain way; looked like a Mohawk. And you knew that was a special situation, a kind of situation, and people gave them wide berths.
We thought it was a good idea. Shooting took place on New York City's West Side, at a time when the city was on the brink of bankruptcy. According to producer, 'the whole West Side was bombed out. There really were row after row of condemned buildings and that's what we used to build our sets, were condemned buildings.
Now it's fashionable real estate.But New York and Times Square was shuddering and disgusting. It's just exciting to see the city bounce back and become the great place it is today from where it was then. We didn't know we were documenting what looked like the dying gasp of New York.'
The was featured in a scene in the film. Taking place in an actual apartment, the tracking shot over the murder scene at the end took three months of preparation just because the production team had to cut through the ceiling in order to get it right. Scorsese brought in the to design the for Taxi Driver. Perri had been Scorsese's original choice to design the titles for in 1974, but would not allow him to hire an unknown designer.
By the time Taxi Driver was going into production, Perri had established his reputation with his work on, and Scorsese was now able to hire him. Perri created the opening titles for Taxi Driver using footage which he colour-treated through a process of film copying and, resulting in a highly stylised graphic sequence that evoked the 'underbelly' of New York City through lurid colours, glowing distorted nocturnal images and deep. Perri went on to design opening titles for a number of major films after this including (1977) and (1980). Music Taxi Driver: Original Soundtrack Recording by Bernard Herrmann Released May 19, 1998 Recorded December 22 and 23, 1975 Soundtracks Length 61: 33, Neely Plumb Professional ratings Review scores Source Rating The music by was his final score before his death on December 24, 1975, and the film is dedicated to his memory.
Robert Barnett of MusicWeb International has said that it contrasts deep, sleazy noises, representing the 'scum' that Travis sees all over the city, with the saxophone, a musical counterpart to Travis, creating a mellifluously disenchanted troubadour. Barnett also observes that the opposing noises in the soundtrack—gritty little harp figures, hard as shards of steel, as well as a jazz drum kit placing the drama in the city—are indicative of loneliness in the midst of mobs of people. Deep brass and woodwinds are also evident. Barnett heard in the drumbeat a wild-eyed martial air charting the pressure on Bickle, who is increasingly oppressed by the corruption around him, and that the harp, drum, and saxophone play significant roles in the music. 's ' is also featured in the film, appearing in a scene where couples are dancing on the program as Travis watches on his television.
Controversies The climactic shoot-out was considered intensely graphic by a few critics at the film's premiere. To attain an 'R', Scorsese had the, making the brightly colored blood less prominent. In later interviews, Scorsese commented that he was actually pleased by the color change and considered it an improvement over the originally filmed scene, which is now lost. In the special-edition DVD, the film's cinematographer, regrets the decision and the fact that no print with the unmuted colors exists anymore, as the originals had long since deteriorated. Some critics showed concern over 12-year-old Foster's presence during the climactic shoot-out. Foster said that she was present during the setup and staging of the special effects used during the scene; the entire process was explained and demonstrated for her, step by step. Moreover, Foster said, she was fascinated and entertained by the behind-the-scenes preparation that went into the scene.
In addition, before being given the part, Foster was subjected to to ensure that she would not be emotionally scarred by her role, in accordance with California Labor Board requirements. Copies of the film distributed for TV broadcast had an unexplained disclaimer added during the closing credits: To our Television Audience: In the aftermath of violence, the distinction between hero and villain is sometimes a matter of interpretation or misinterpretation of facts. 'Taxi Driver' suggests that tragic errors can be made. — The Filmmakers. John Hinckley Jr.
Taxi Driver formed part of the delusional fantasy of that triggered his of President in 1981, an act for which he was found. Hinckley stated that his actions were an attempt to impress actress Jodie Foster, on whom Hinckley was fixated, by mimicking Travis's appearance at the Palantine rally. His attorney concluded his defense by playing the movie for the jury. Themes and interpretations Sabine Haenni, a professor at, commented on the film: While Taxi Driver chronicles Travis's excessive response to the perceived decline of the city, perhaps more fundamentally, the decline of the city seems to engender the decline of the male hero—Travis's inability to function in individual, collective, and heteronormative terms. Has written of the film's ending: There has been much discussion about the ending, in which we see newspaper clippings about Travis's 'heroism' of saving Iris, and then Betsy gets into his cab and seems to give him admiration instead of her earlier disgust. Is this a fantasy scene? Did Travis survive the shoot-out?
Are we experiencing his dying thoughts? Can the sequence be accepted as literally true? I am not sure there can be an answer to these questions.
The end sequence plays like music, not drama: It completes the story on an emotional, not a literal, level. We end not on carnage but on redemption, which is the goal of so many of Scorsese's characters., in his review of the film, argues against the dream or fantasy interpretation, stating: Scorsese and writer Paul Schrader append the perfect conclusion to Taxi Driver. Steeped in irony, the five-minute epilogue underscores the vagaries of fate.
The media builds Bickle into a hero, when, had he been a little quicker drawing his gun against Senator Palantine, he would have been reviled as an assassin. As the film closes, the has been embraced as the model citizen—someone who takes on pimps, drug dealers, and mobsters to save one little girl. On the, Scorsese acknowledged several ' interpretation of the film's ending as being Bickle's dying dream.
He admits that the last scene of Bickle glancing at an unseen object implies that Bickle might fall into rage and recklessness in the future, and he is like 'a ticking time bomb'. Writer Paul Schrader confirms this in his commentary on the 30th-anniversary DVD, stating that Travis 'is not cured by the movie's end', and that 'he's not going to be a hero next time.' When asked on the website about the film's ending, Schrader said that it was not to be taken as a dream sequence, but that he envisioned it as returning to the beginning of the film—as if the last frame 'could be spliced to the first frame, and the movie started all over again.' The film has also been connected with the 1970s wave of and has been noted as a more respectable counterpart to the numerous vigilante films of the decade.
However, despite similarities between Taxi Driver and the vigilante films of the 1970s, the film has also been explicitly distinguished as not being a vigilante film or not belonging to the 1970s vigilante film wave. Some critics have described the film as 'neo-noir'. It has also been referred to as an film. Reception Box office Filmed on a budget of $1.9 million, Taxi Driver grossed $28.3 million in the United States, making it the. Critical response instantly praised it as one of the greatest films he had ever seen, claiming: Taxi Driver is a hell, from the opening shot of a cab emerging from stygian clouds of steam to the climactic killing scene in which the camera finally looks straight down.
Scorsese wanted to look away from Travis's rejection; we almost want to look away from his life. But he's there, all right, and he's suffering. It was nominated for four, including and (De Niro), and received the at the. It has been selected for preservation in the United States. The film was chosen by as one of the.
Gives the film a score of 98% based on reviews from 80 critics with an average rating of 9/10; the site's consensus states: 'A must-see film for movie lovers, this Martin Scorsese masterpiece is as hard-hitting as it is compelling, with Robert De Niro at his best.' Gives the film a score of 94 out of 100, based on reviews from 23 critics, indicating 'universal acclaim.' The July/August 2009 issue of polled several critics on the best films to win the at the. Taxi Driver placed first, above films such as, and. Taxi Driver was ranked by the as the 52nd-greatest on its list, and Bickle in a poll by the same organization. Also ranked him 18th in its 'The 100 Greatest Movie Characters' poll, and the film ranks #17 on the magazine's 2008 list of the 500 greatest movies of all time.
Magazine conducted a poll of the 100 greatest movies set in New York City. Taxi Driver topped the list placing at No. Schrader's screenplay for the film was ranked the 43rd greatest ever written by the. By contrast, gave a rating of only 2 stars and called the film a 'gory, cold-blooded story of sick man's lurid descent into violence' which was 'ugly and unredeeming'.
'You Talkin' to Me?' Redirects here. For the comedy, see. De Niro's 'You talkin' to me?' Has become a mainstay. In 2005, it was ranked number 10 on the 's. In the corresponding scene, Bickle is looking into a mirror at himself, imagining a confrontation that would give him a chance to draw his gun: You talkin' to me?
You talkin' to me? You talkin' to me? Then who the hell else are you talkin' to? You talkin' to me? Well I'm the only one here.
Who the fuck do you think you're talking to? Called it 'the truest line in the film. Travis Bickle's desperate need to make some kind of contact somehow—to share or mimic the effortless social interaction he sees all around him, but does not participate in.'
Schrader does not take credit for the line, saying that his script only read 'Travis speaks to himself in the mirror', and that De Niro improvised the dialogue. However, Schrader went on to say that De Niro's performance was inspired by a routine by 'an underground New York comedian' who he had once seen, possibly including his signature line. Scorsese said that he drew inspiration from John Huston's 1967 movie in a scene in which character is facing the mirror.
In his 2009 memoir, saxophonist said that De Niro explained the line's origins when Clemons coached De Niro to play the saxophone for the 1977 film. Clemons said that De Niro had seen say the line onstage at a concert as fans were screaming his name, and decided to make the line his own. Home media The first Collector's Edition, released in 1999, was packaged as a single-disc edition release. It contained special features, such as behind-the-scenes and several trailers, including one for Taxi Driver. In 2006, a 30th-anniversary 2-disc Collector's Edition DVD was released. The first disc contains the film itself, two (one by writer Schrader and the other by Professor Robert Kolker), and.
This edition also retains some of the special features from the earlier release on the second disc, as well as some newly produced documentary material. A was released on April 5, 2011 to commemorate the film's 35th anniversary. It includes the special features from the previous 2-disc collector's edition, plus an audio commentary by Scorsese released in 1991 for, previously released on. As part of the Blu-ray production, Sony gave the film a full digital restoration, which included scanning and cleaning the original negative (removing emulsion dirt and scratches). Colors were matched to director-approved prints under guidance from Scorsese and director of photography Michael Chapman. An all-new soundtrack was also made from the original stereo recordings by Scorsese's personal sound team. The restored print premiered in February 2011 at the Berlin Film Festival, and to promote the Blu-ray, Sony also had the print screened at across the United States on March 19 and 22.
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Sequel and remake In late January 2005, a sequel was announced by De Niro and Scorsese. At a 25th-anniversary screening of, De Niro talked about the story of an older Travis Bickle being in development. Also in 2000, De Niro mentioned interest in bringing back the character in conversation with host.
In November 2013, he revealed that Schrader had done a first draft but both he and Scorsese thought that it was not good enough to go beyond. In 2010, reported rumors that, Scorsese, and De Niro planned to work on a remake of the film with the same restrictions that were used in. In 2014, Paul Schrader said that it was not being made.
He said, 'It was a terrible idea' and 'in Marty's mind, it never was something that should be done.' In December 2011, Scorsese was interviewed about combining his passion for 3D as a new medium with the legacy of older films, and said, 'If I could go back in time, I'd shoot Taxi Driver in 3D. Robert De Niro in the mirror as Travis Bickle.
Imagine how intimidating. 'You talking to me?
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This happened yesterday, October 30, 2013. At around 8:45 in the morning, I flagged down a taxi in San. Ominous music plays as a car emerges out of steam into a dark and threatening urban landscape. The camera flashes on 's eyes, which appear menacing. The first scene after the credits introduces us to Travis as he interviews for a job as a taxi driver. He tells the interviewer that he is twenty-six years old, was honorably discharged from the Marines in 1973 (indicating to viewers that he served in the Vietnam War), and that he can't sleep at night. The interviewer reveals that he had been a Marine as well and tells Travis to come back for work the next day.
Travis leaves and begins drinking from a flask in broad daylight. As Travis's job as a taxi driver begins, so does his diary, which we hear as a voiceover. Travis complains about how dirty New York is and talks about how he does not discriminate against his passengers. We see him driving around on a typical day. When he gets off work in the morning after driving for twelve hours at night, he immediately begins drinking and attends a porn film. At the entrance he tries to be friendly with the concession lady, a young black woman. She quickly rejects his efforts to reach out, so he spends his morning alone in the porn theater.
Travis complains about his inability to sleep, even after working all night, and talks about wanting to become more normal. He wishes to have someplace to go and to fit in with other people. Travis hangs out with other cabbies sometimes at an all-night diner. He is clearly made uncomfortable by Charlie T, a black cab driver, and by the other black people in the diner. One day while driving his cab, Travis sees Betsy, a beautiful blond woman in a white dress. To Travis, she stands out from the rest of the people in the crowded, dirty city. Betsy works at the Palantine presidential campaign headquarters in New York.
We see Betsy talking to her coworker, Tom, who also seems to be in love with Betsy, while Travis watches from his cab outside. Travis finally gathers the courage to ask Betsy out. He dresses up and walks into the campaign headquarters, introduces himself, and asks Betsy out for coffee.
Charmed and intrigued, Betsy agrees. Travis and Betsy's date at the diner goes well, and she agrees to go to a movie with him.
Later, coincidentally, Travis gives Palantine, the candidate, a ride in the cab. Travis flatters Palantine, saying he's Palantine's biggest supporter, but when Palantine pushes Travis to talk about an issue, Travis speaks inappropriately, saying that he just wants to see the city rid of all its scum. Travis's next fare is a young prostitute, who jumps in the cab and tells it to take off. While Travis hesitates, a man pulls the girl out of the cab and throws Travis a twenty-dollar bill, telling him to forget the incident. Travis seems unable to get the girl out of his mind, and he puts the bill in a place separate from the rest of his money.
Travis takes Betsy to a porn film in Times Square. When Betsy realizes what the film is, she becomes disgusted and leaves. After this night, she refuses to take his calls and returns the flowers he sends her. Travis becomes angry and eventually storms into the Palantine office to confront Betsy in public, but there he is humiliated. The next scene shows Travis, back in his cab, pulling over to let a man out. But the unnamed passenger wants to stay in the cab to watch the silhouette of a woman in a window above.
The passenger claims the woman is his wife and that she is sleeping with a black man. He goes on hysterically about shooting his wife with a. Later, at the diner where the cabbies hang out, Travis pulls Wizard aside and tries to reach out to him, saying he's been feeling down and having bad ideas in his head.
The only thing Wizard can tell him is that he is stuck as a taxi driver, that the job will become him. Travis seems to be losing his mind more and more. One day he absentmindedly runs his cab into a young prostitute, the same one who jumped into his cab before. Travis buys four guns from an underground dealer, saying that he is going to change his life.
He wants to turn over a new leaf—to eat and drink more healthily, and to train his body. We see him doing push-ups and holding his fist out over an open flame, as if he is training for combat. Travis begins to stalk Palantine. He goes to his rallies and watches him on television.
He arouses suspicion by talking to a Secret Service agent at one of the rallies. Travis's speech becomes more disjointed and repetitive, especially when he is alone. He practices pulling out his gun in the mirror, saying 'You talkin' to me?' One night he stops at a convenience store.
When a young black man comes in and tries to stick up the store, Travis shoots and kills him. The shooting has no consequences for Travis because the convenience store owner just thanks him and then starts beating the dead man. Travis continues to stalk Palantine, and he writes a letter to his parents. They know nothing about where their son is or what he does. Travis finally searches for Iris, the young prostitute he has seen twice before. He tries to pay Sport, her pimp, for time with her. Iris tries to seduce Travis, but he refuses to have sex with her.
Instead, he asks her why she doesn't leave her job. He has coffee with her the next day and again tries to convince her to leave Sport.
She says she'll think about it, and that she dreams of going to a commune in Vermont. She asks Travis to go with her, but he says he has more important plans. Iris goes back to Sport to tell him she's unhappy, but Sport is seductive and romantic and convinces Iris to stay. On the final day of the film's action Travis prepares to leave the house. First, he burns all the flowers he bought for Betsy, and then he writes a note for Iris, enclosing $ 500 so she can go to Vermont.
He writes that by the time she reads the letter, he will be dead. He goes to a Palantine rally with his hair shaved into a Mohawk. His intention to assassinate Palantine becomes clear.
Soon, though, Secret Service agents spot him and pursue him. Since his plan has failed, he goes instead to Iris's building. There, in a long, bloody shoot-out, he kills Sport, the man who rents out Iris's rooms, and a man who was about to visit Iris.
When Travis tries to shoot himself, he realizes that he has run out of bullets. As the police rush in, he puts his hand to his head and pretends to shoot himself. The film moves forward by a few months.
Travis has become a hero of sorts for saving Iris. We hear Iris's father reading a letter he has written Travis, thanking him for sending Iris home. The camera pans across all the newspaper articles that label Travis a hero. In the final scene, which is most likely a fantasy, we see Travis standing around with his cabbie friends when Betsy gets into his cab.
She is clearly impressed by Travis's recent success and says she'll see him around. Travis never looks back at her but stares at her reflection in his rearview mirror. By, February 27, 2014 The character Travis Bickle drives a taxi around and complains about all the pimps,pushers,perverts,skunkpussies,prostitutes and lowlifes that trash the streets of the city. He imagines that it needs cleaned up by him being the hero. Then he meets a young prostitute thats like 12 year old (played by Jodi Foster in movie) He don't have sex with her but just talks to her.
He feels the street hustler he met earlier is holding a threat over her forcing the minor into prostitution. So he buys two guns an goes into rundown apartment building shoot.