Directed by Martin Scorsese in the year of 1976, one of the epic movies of late 1970’s movie history, without any doubts is ‘‘Taxi Driver’’. The movie is not only about a Vietnam war veteran who drifts through the dark streets of Scorcese’s New York City, but also it is about his transformation within the terms of how he turns into a ‘‘monster’’ while actually turns into the hero because of his attempts of trying to save a young, 12,5 years old prostitude. While watching, Martin Scorsese’s use
Taxi Driver: The Filth of the Streets and of Self The opening shot is Robert DeNiro’s character, Travis Bickle’s eyes in the review mirror intensely gazing at the city. It then transitions to the view outside of the taxi to the colorful, hectic streets of New York City. This exaggerates the importance of the taxi itself and the main character’s point of view from within it. Bickle is a veteran Marine who can’t sleep and decides to take the job of driving the long hours. He narrates the film as
Martin Scorses’s Taxi Driver is the distinct cry of mid-1970’s America. American society was becoming fabricated, alienated, and distrustful. Above all, American society was throwing away the values of the older days and trying to replace its anger and discontent with violence and paranoia. In the film the viewer is painfully close to its main character, Travis Bickle. This is written in a narration form of a diary he writes in from time to time. Bickle is consistently portrayed as a lonely but
nothing significant happens to me on the Subway. However in those rare moments when something does happen or I witness something out of the ordinary, that thought usually sticks with me for a bit. Travis Bickle, the central focus of Martin Scorcese’s 1976 film Taxi Driver, saw the city of Manhattan as a gritty, crime-ridden island filled with “the scum, the cunts, the dogs, the filth, the shit” who walk around the place every day. Personally, that’s not how I’ve seen the city thus far.
"He's a profit and a pusher. Partly truth partly fiction. A walking contradiction." - Kris Kirstofferson In Martin Scorcese's Taxi Driver, Travis Bickle repeatedly expresses two ideas that are central to the film. First, Travis has an undying wish to purify the world. He wants to rid his city of all the evil and scum that currently inhabits the city's cold and damp streets. Second, is the method by which Travis tries to obtain his goals. Travis Bickle tries to clean up his city by methods
The genre of film noir was first acknowledged in France for its distinguishable darkness and its critic of social norms through nontraditional narratives. In Chinatown, Roman Polanski effectively utilizes many of the thematic and stylistic devices commonly associated with the neo-noir film genre. The objective of this essay is to critically discuss these devices employed by Polanski in order to reveal some of the subtle complexities that are embedded within the cinematic fabric of the film, Chinatown