№2: Taxi Driver (1976)
Directed by Martin Scorsese
Starring Robert DeNiro, Jodie Foster, Albert Brooks, Harvey Keitel, Peter Boyle, and Cybill Shepherd
“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?”
Taxi Driver is arguably Martin Scorsese’s best film (Raging Bull is probably his other masterpiece). I first saw the film on the big screen, which may come as a surprise, considering I was born 10-years after its initial release. I watched the film at a special screening at the NSW Art Gallery when I was about 16. I don’t think I fully understood the film at the time, but I loved it.
It is something to behold — both graphic and hypnotic.
The film follows the story of Travis Brickle, a troubled 26-year old ex-Marine. Travis is a taxi driver with insomnia, a diary, a love of pornographic films, a racist streak, and an infatuation with a young campaign worker. As the film progresses, Travis becomes increasingly paranoid and is prone to violent thoughts. He views the New York as an open sewer that must be washed clean. And he comes to see himself as its cleaner — an avenging angel and a saviour of women.
Scorsese has said that he favours story over plot — put simply, he tends to enjoy films focused on character. And here is perhaps the best example of such a method. Taxi Driver is a character study — of God’s Lonely Man.
In his loneliness, Travis builds a philosophy and seeks to validate it as he drives the city at night — humanity is depraved and venal. The menacing looks of the world around him may just be a fantasy, but they are very real to Travis. Everyone is against him. Travis is tortured by his isolation, yet continues to isolate himself. As Betsy comments, he is “a walking contradiction.” He thinks of himself as pure, yet is made filthy by his actions.
It is revealing that screen-writer Paul Schrader was in a “low and bad place” when he wrote Taxi Driver. This is not a screenplay written by a person who was enjoying life. He apparently kept a loaded gun in his desk as motivation or inspiration, or both.
As for the direction, Scorsese’s use of the camera is mesmerizing. He conveys Travis’ emotional state through framing and movement — claustrophobic, paranoia, and isolation. The best shot in the film is this phone call scene — about half way through the conversation the camera tracks to an empty hallway, as the call itself is just too pathetic and painful to watch.
As for the performances, this is Robert De Niro’s film. He perfectly embodies Travis’ struggle.
Final thoughts
The film is a masterful piece of American cinema and was released to acclaim in Cannes in 1976 (winning the Palm d’Or). The film was also highly controversial. It featured an overtly racist protagonist, a 12-year old prostitute, plans of political assassination, and high level violence. Indeed, the film was slated for a X-rating. It is rumoured that after hearing of this Scorsese stayed up all night drinking with a loaded handgun. The next day he planned to go to the offices of Columbia pictures and shoot the executive who had ordered him to cut his masterpiece to secure an R-rating. Scorsese took the non-violent route. Instead, opting to desaturate the colours in the shootout scene by 2-degrees — the blood red became brown.
A Scene from the Picture
I have chosen this conversation between Travis and his mirror. It may be the most famous scene from the film, but it is also one of the best scenes: “You talkin’ to me? You talkin’ to me? You talkin’ to me?”
