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Taxi Driver (1976)

Taxi Driver (1976)
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"All the animals come out at night" -- and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) works the nightshift, driving his cab throughout decaying mid-'70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. Chronically alone, Travis cannot connect with anyone, not even with such other cabbies as blowhard Wizard (Peter Boyle). He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind?

Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood. ~ Lucia Bozzola, Rovi

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Starring:
Robert De NiroCybill Shepherd, (more)
Director(s):
Martin Scorsese
Theatrical MPAA Rating:
R
Format(s):
DVD  |  Blu-ray
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Synopsis of Taxi Driver

"All the animals come out at night" -- and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) works the nightshift, driving his cab throughout decaying mid-'70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. Chronically alone, Travis cannot connect with anyone, not even with such other cabbies as blowhard Wizard (Peter Boyle). He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind?

Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood. ~ Lucia Bozzola, Rovi

Theatrical Feature Running Time:
114 mins

Complete Cast of Taxi Driver


Director(s):
Martin Scorsese
Writer(s):
Paul Schrader
Producer(s):
Phillip GoldfarbMichael PhillipsJulia Phillips
Theatrical MPAA Rating:
R(Sexual Situations, Graphic Violence, Not For Children, Profanity)
Taxi Driver Awards:
  • 1998 - American Film Institute - 100 Greatest American Movies
  • 1976 - British Academy of Film and Television Arts - Best Supporting Actress
  • 1976 - British Academy of Film and Television Arts - Most Promising Newcomer
  • 1976 - British Academy of Film and Television Arts - Anthony Asquith Award
  • 1976 - Cannes Film Festival - Palme d'Or
  • 1993 - Library of Congress - U.S. National Film Registry
  • 1976 - Los Angeles Film Critics Association - New Generation Award
  • 1976 - Los Angeles Film Critics Association - Best Music Score
  • 1976 - Los Angeles Film Critics Association - Best Actor
  • 1976 - Los Angeles Film Critics Association - New Generation Award
  • 1976 - National Society of Film Critics - Best Director
  • 1976 - National Society of Film Critics - Best Actor
  • 1976 - National Society of Film Critics - Best Supporting Actress
  • 1976 - New York Film Critics Circle - Best Actor
Warning:  This product is intended for mature audiences only. It may contain violence, sexual content, drug abuse and/or strong language. You must be 17 or older to purchase it. By ordering this item you are certifying that you are at least 17 years of age.

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    Jeremiah D.

    Man, could they make movies in the 70s! Movies with powerful themes, but subtle, not preachy like today's inferior fare. Taxi Driver is a perfect example, the story of an alienated individual, who, when he reaches out, is rejected. And so his issues manifest into a full-blown breakdown, with two stark choices in front of him, neither healthy, but only one redeeming. All this against the BACKDROP of commentary on society and New York. No "hitting you over the head with its message" garbage (I shudder to think what Paul Haggis would have done with this material). Well acted and directed, with a gritty feel that makes you feel as if the grime of 70s New York is rubbing off on you, this movie has no weaknesses. My only hope is that some hack doesn't try to remake it. It needs no remake, it's as watchable now as it was then. If you are any sort of film student or aficionado, and you haven't watched this movie, you have to go out and rent this film.

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    Eileen W.

    Fantastically Disturbing! One of the classics that everyone must see.

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    Ace B.

    a all time classic film, deniro gives a flawless performance, he was a legend even back then. his performance made this movie a classic, you take any other actor and put them in this lead role outside of a few actors and this just another forgotten about movie from this 70's. Scorsese also did a good job at portraying the grimey and slimy underworld scene of new york in the 70's. cybil shepherd was gorgeous in this film as well, she is not much of a actor but she provides good eye candy for the film

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