Taxi Driver

Taxi Driver is the third best film made by Scorsese and De Niro after Raging Bull and Wise Guys. But of all the above, it has by far the best music - Herrmann's ending to his career is divine. How a few notes can capture not only the environment in which the film takes place, but also the mental turmoil of the main character... It's breathtaking. You see the opening credits (which Richard Donner pays homage to in Gibson's Ransom) and you know - this is going to be SOMETHING. And it is. (09/19/2007)

The dollar may have had significantly more power in the mid-70s than it does today, but the fact remains that the movie only cost a mere 1.9 million, which is unbelievable. Nevertheless, money for the project was hard to come by, and it took a long 3 years for Scorsese and De Niro to make it happen. The screenwriter used a real-life successful assassination attempt on presidential candidate George Wallace in 1972. However, the film is not a crime story in the ordinary sense; rather, it is a psychological drama about a Vietnam War veteran who cannot readjust to society upon his return home. Gradually, he becomes the opposite of Jack, the founder of the Fight Club in Fincher's famous film. Jack embodied the dissatisfaction of the radical urban intellectual left and the idea of an anarchist rebellion against the system. On the other hand, Travis is closer to the positions of the radical right; he watches with concern and increasing contempt as life unfolds in a decadent metropolis full of loose sexual morality, crime, and existential insecurity. Both anti-heroes share not only chronic insomnia but also a protest against the world they want to rid of falsehoods. If Travis had carried out his plan to the end, he would have been seen as the archetype villain by the public. However, Scorsese allows his character to live on and even makes him famous in the eyes of the public. Ironically, he thus caricatures the double morality of bourgeois society. Travis' multiple murder of members of the urban gallery turns him not into a terrorist but into a courageous fighter against the underworld. Even members of the liberal urban elite are not spared. The activist Betsy represents the epitome of a snob, and presidential candidate Palantine is a typical example of a professional chatterbox who speaks in vague phrases. Scorsese benefited greatly from not taking a clear activist stance. During its creation, Taxi Driver sparked numerous controversies and passions. In a few years, it became a cult film, and rightly so, unlike many other works. It has definitely not aged; the character of Travis Bickle still unsettles viewers to this day. From my perspective, it is Robert De Niro's most significant role. A bonus for today's viewers is the fact that the supporting actors grew into first-class stars over the following decades. Overall impression: 95%. (03/02/2016)

Legendary American director Martin Scorsese has always had a flair for strong themes and great actors, which he proved with this disturbing crime drama in which the utterly inscrutable Robert De Niro as the frustrated loner Travis navigates the dirty streets of New York in a taxi. Absolutely disgusted with abominable social conditions, he finally decides to take justice into his own hands. The young Jodie Foster as the prostitute Iris gives an emotionally convincing performance here, suggesting that she will one day be a star of the first magnitude. (85%) (01/08/2023)

There was a chance that his fate could have ended well, but Betsy (truly beautiful Cybill Shepherd) should not have blown him off after one date, which he didn't handle organizationally well. The next hope could be the fourteen-year-old prostitute Iris (Jodie Foster, who really was 14), but can she truly save him? Is he capable of acting in a way that will help people? The ending is a fairly expected escalation of events, which only feeds into the great development that the character Travis Bickle has. His life has completely changed, but not here in New York, it changed over there, in Vietnam, New York just showed him that it's not really that different, that it doesn't really make much sense to fight for something so repulsive. Nonetheless, the film still gives us some hope in the end. This is Scorsese's only turning towards hope, towards a higher justice. However, this time he basically completely avoided religious themes and presented us with the fate of one man who will really shake you up. Violence is portrayed here so naturally that you will really think twice about visiting nighttime New York if you ever have the chance. (10/29/2013)

I waited twenty years to see one of Martin Scorsese’s most famous movies on the big screen in a festival atmosphere. It finally happened, moreover with a freshly restored version released by the restorers themselves. And nothing happened – at most, Taxi Driver is a valuable testimony of the period, place and mood of 1970s New York, which gives it historical significance (I’ve recently praised similar qualities in Sidney Lumet’s Serpico). The innovative and creative camerawork and Bernard Herrmann’s dark music are also excellent. However, the screenplay and its treatment of the protagonist are cold and aloof and take too many shortcuts, and the climax looks almost absurd, in a cartoonish fashion, as though it was a dramaturgically botched attempt at editing a more concise and epic work. (07/07/2011)