Taxi Driver is a classic film directed by Martin Scorsese and released in 1976. It tells the story of Travis Bickle, a Vietnam War veteran who becomes a taxi driver in New York City. Bickle is a complex and troubled character, and the film explores the various factors that contribute to his downward spiral.
One of the key themes of Taxi Driver is loneliness. Bickle is a solitary figure, and the film depicts the harsh realities of life in the city for someone who is isolated and disconnected from others. Bickle's job as a taxi driver exposes him to the dark side of the city, and he becomes increasingly disillusioned with the world around him. He feels disconnected from society, and this sense of isolation drives him to seek out ways to connect with others.
Another important theme in the film is violence. Bickle is a deeply troubled individual, and he turns to violence as a means of coping with his anger and frustration. The film portrays the destructive nature of violence, and how it can consume and destroy those who engage in it. Bickle's violent tendencies are fueled by his sense of isolation and disconnection from society, and the film suggests that this cycle of violence and isolation is difficult to break.
One of the most memorable aspects of Taxi Driver is the character of Travis Bickle himself. He is portrayed by Robert De Niro in one of his most iconic performances, and Bickle is a complex and multifaceted character. On one hand, he is deeply troubled and struggling to find his place in the world. On the other hand, he is also a deeply moral individual who is driven by a desire to do good and help others. This dichotomy is one of the most interesting aspects of Bickle's character, and it helps to make Taxi Driver a truly memorable film.
In conclusion, Taxi Driver is a classic film that explores themes of loneliness, violence, and the search for connection in a complex and troubled world. The character of Travis Bickle is a deeply compelling and memorable one, and the film remains an important work in the history of cinema.
Travis Bickle Character Analysis in Taxi Driver
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. For instance, the fact that Travis keeps a diary emphasizes his loneliness, although he is constantly among people and can communicate much Taxi Driver. WIZARD: What do ya expect, Bertrand Russell? One day while driving his cab, Travis sees Betsy, a beautiful blond woman in a white dress. He tends to happen upon some particularly nasty passengers in his cab over the course of the movie, many of whom reflect deeply misogynistic worldviews, and each experience only sows the seeds of self-righteousness. And like the madman he has turned into, he murders the pimp as well as two of his associates, ultimately freeing the child prostitute. At the point when Travis requests that her go out to a motion picture with him, Betsy reluctantly concurs. This can be seen in Blade Runner by Ridley Scott, THX 1138 by George Lucas, and Children of Men by Alfonso Cuaron, as the landscapes help develop the complexity of the story.
Note, too, that this meeting takes place in a hotel bedroom in the middle of the day — a setting redolent of fast sex and infidelity. Analysis of Narrative The story of the film is told dynamically, and the intrigue grows increasingly, without plot jumps and twists. It ends with him driving away. So he sits and drives in the stupefied languor of anomie. This is all my interpretation so it is okay to completely disagree with me on some of the things I say. Travis works as a taxi driver and spends his time driving through the city.
Travis's speech becomes more disjointed and repetitive, especially when he is alone. Travis finally searches for Iris, the young prostitute he has seen twice before. The movie rarely strays very far from the personal, highly subjective way in which he sees the city and lets it wound him. Travis externalizes all his lack of individual control literally he drives other people to their destinations, never driving for himself over the world into a fight against authority. I remember the director having an unfamiliar first and last name, so its possible he was talking about himself as the director. Soon after this conversation, Travis changes from any lonely man to "God's lonely man," on a path toward what he views as his destiny—a path as straight and narrow as the hallway. Instead, he asks her why she doesn't leave her job.
Aesthetically, this entire sequence - which finally sees the ever-growing tension of Taxi Driver boil over in a memorably gory fashion - was inspired by Scorsese's admiration of Caravaggio, an Italian Baroque artist known for blending the sacred with the profane. Travis prepares to meet his maker, saying goodbye in letters. Travis goes to the massage parlor completely equipped and stacked. Travis isn't into that, he hates it, but Times Square feeds his anger. He sees himself as completely alone and alienated. His infamy has changed him from a misfit into a media darling and hero.
Inside his battle central station, we meet Betsy, a lovely youthful staff member with whom Travis ends up fixated. Either would be a noble goal, yet the intimacy he engineers is all about control. Before entering the theater, Bickle stops by the concessions counter. As the earth moves toward the sun, Travis Bickle moves toward violence. Newspaper headlines reveal that the violent shootout has transformed Travis in a national hero, and he has awakened from the coma that left him hospitalized in the wake of the shootout. One night while Travis is shopping at a comfort store, a youthful dark cheat tries to hold up the store. Taxi Driver puts emphasis on the psychology of the main character as well as his emotional instability The movie focuses on the main character, Travis Bickle.
Travis is also shot twice, once in the neck and once in the arm. After Travis applies to be a taxi driver, he walks out of the dispatcher garage, and as he does so, the camera pans from right to left across the screen as the cabs drive right, in the opposite direction. Travis buys four guns from an underground dealer, saying that he is going to change his life. The street vapors become ghostly; Sport the pimp romancing his baby whore leads her in a hypnotic dance; the porno theatres are like mortuaries; the congested traffic is macabre. He believes that a President should clean up and flush out the mess in the city, and even prefers vigilantism—taking the law into his own hands. His death endeavor having fizzled, he sets his plans on sparing Iris.
The film was written by Paul Schrader and was directed by Martin Scorsese. Travis continues to drive around the city, slowly building a hatred toward everyone he sees. Like any politician, Travis means to sweep this city clean. Later in the film I learn that Blanche DuBois leaves small town Mississippi and moves in with her sister Stella Kowalski in New Orleans. Directed by Martin Scorsese, Taxi Driver builds to a bloody climax and concludes with a cryptic sequences of events — events that may be in Travis Bickle's head.
At the point when Betsy considers the stalker-ish cabbie, she inspires Tom to look at him, yet as he approaches, Travis drives off. Instead, the final battle recasts him as outraged father figure, a vigilante against paedophiles and pimps. Dull colors are diluted with bright tones intentionally to provide an additional effect, and an example of a scene with blood on the face of the main character may be given Taxi Driver. Travis appears at a battle rally for Senator Palatine now donning a Mohawk. Marine who previously served in Vietnam, or at least that's what he claims, and struggles to connect with acquaintances, such as Wizard Peter Boyle , and a romantic interest, Betsy Cybill Shepherd , a campaign volunteer for presidential candidate Charles Palantine Leonard Harris. Rather, by drawing us into his vortex it makes us understand the psychic discharge of the quiet boys who go berserk.
