9/10

Rating: 9/10 (19 October 2014)

Martin Scorsese's acclaimed film, Taxi Driver, provides viewers with an excellent example of a character study film done right. Through violence, sorrow, and disgust, the film is a one of a kind directed perfectly by Scorsese. Taxi Driver follows the life of a lonely and frustrated New York City cab driver, Travis Bickle, played wonderfully by Robert De Niro. Travis is a Vietnam vet now suffering from insomnia, and he takes a job as a night shift cabbie. As one would expect of late nights in New York, Travis is a witness of all types of sleazy late-night activities, such as prostitution and drug dealing. Travis begins to become increasingly frustrated with all the immorality and the direction that the world is headed in. His strong opinions and personality pushes most people away from him; he develops a short, and failed love interest with woman named Betsy, who works for the campaign of want to be senatorial candidate Charles Palantine. Travis becomes concerned with a twelve- year-old prostitute, played by Jodie Foster, and is determined to save her from her pimp. After all the desperation and frustration, a sense of self-righteousness develops within Travis, and he takes a course of action to try and make the world fit his mold of what an ideal society should be. Scorsese helps to show that a lavishly decorated movie, starring an exuberant cast of characters is not needed to create a widely acclaimed masterpiece. Scorsese's film featured a bleak and disturbing main character, and does not leave the viewer feeling happy upon finishing it, yet you cannot help but recognize its greatness. Taxi Driver shares many similarities, but it also has many differences compared to Scorsese's other works. Like many of his other films, the cinematography is arguably the strongest element of the film, and the awkward dialogue paired with Travis' internal dialogue creates a very unique film. The film also incorporates crime into it like many other great Scorsese films such as Goodfellas, and The Departed. Unlike the mentioned films however, Taxi Driver does not have any sort of mafia theme in it like a lot of Scorsese's previous works. In terms of characters as well, the characters in Taxi Driver are for the most part outwardly mundane and un-exciting. This film does not have wild and outspoken characters such as Joe Pesci or Mark Wahlberg from Scorsese's works, and instead focuses on the internal problems of Travis and the rotting of New York City. The social commentary of this film hits on two different areas. The first, is the psychological impact of the Vietnam War. While the film never makes clear that the reasons for Travis' insomnia and other psychological problems are related to the war, it does not seem too far fetched to assume that the war definitely had some sort of impact. The commentary tries to show the lasting pain and psychological problems the war had on its participants, and is most likely a subtle criticism of the whole war in general. In regards to the war however, the film's clear and main point is to show the negative and lasting affects of the experience on the returning soldiers. The other realm of the film's commentary has to do with New York City, at the time the movie was made. Taxi Driver shows the deteriorating state of New York and in some ways is a plea for help. Travis is obviously not the figure Scorsese wants to help fix the city, but he uses Travis to show the desperation that is needed for help. This film deserves a 9 out of 10 stars. The development of Robert De Niro's character from a frustrated cab driver to a wannabe martyr is acted out perfectly. The film does an amazing job of stirring up emotions despite the lack of overt emotion within the film. The viewer feels the pain and sorrow that Travis somehow manages to hide, and becomes frustrated when Travis does not realize the disgust of his actions. The greatness of the movie is in its ability to keep the viewer engaged when quite often, while at times the film seems stagnant The film's strongest element is quite possibly the cinematography. From the close up scenes, the moments of silence, and the score, Taxi Driver has the total package when it comes to cinematography. As many have said before, Taxi Driver features one of the best-shot scenes of all time. The scene where Travis is trying to make contact with Betsy on the phone and the camera pans over to a barren hallway is the one in reference. This scene is so great because you feel Travis' emotions, and when the camera goes over to the hallway it's as if Scorsese is telling the viewer to not look at the pain Travis is feeling. The barren hallway is also a metaphor for Travis' life as it is simply empty and lonely. The arc of Travis is another interesting element of the film. Travis' arc from a low life cabbie toward redemption does not feel forced and is developed in a way that feels realistic. By about the halfway point, Travis' desire to take matters into his own hands, in regards to cleaning up the city, begins to take action, and in his mind will lead to him becoming a hero. The third stand out element of the film is the conflict, and the films ability to create great external and internal conflict. The external conflict of the film has to do with the state of city which is filled with prostitution, violence, and other forms of crime. The internal conflict is Travis' own personal battle with his psychological problems and his loneliness caused by his off- putting personality. Taxi Driver does not feature any sort of explosions, quirky dialogue, or have a Hollywood ending, but is a film that can still be appreciated today. Taxi Driver holds up to the test of time thirty-eight years later.