An emotionally and mentally unstable Vietnam War veteran named Travis Bickle takes a job as a New York City cab driver. Suffering from both relentless insomnia and general misanthropy, Bickle sets out to save a twelve-year-old prostitute from the clutches of her pimp.
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A cautionary tale that transformed contemporary cinema. Travis Bickle is the ultimate disturbed protagonist. His warped, bigoted worldview colours his societal interactions in a volatile fashion. It plays on the mind long after a viewing; symbolic of a loner's psychological descent as his ideological posturing turns sour. When his villainies are confused by redeeming qualities, it makes it all the more unsettling.
Don't ask how it took me so long to see this movie. I'm glad I finally did. Foster is great. DeNiro is electric (reminded me of Gyllenhaal in Nightcrawler tbh). Some of the dolly moves felt as bit showy/unmotivated, but that's a small complaint considering how well this movie was made.
When I saw the camera look away from Travis, that was the day I became a cinefile. All of a sudden, movement had meaning and I could sense the presence of an artist. Even after all these years and imitators, it's still one of the most fascinating character study out there. The slow descent into this mind has a mood and pace that nobody else has captured despite endless attempts. A time capsule of 70s nihilism.
"You talkin' to me? You talkin' to me? You talkin' to me? Then who the hell else are you talkin' to? You talkin' to me? Well I'm the only one here. Who the fuck do you think you're talking to?" - Travis
Jodie Foster epic cuteness
Scorsese's gritty masterpiece paints a brutal portrait of New York City. No film is more successful at portraying the maddening effects of alienation, and I doubt a better character study has ever (or will ever) be made.
Scorsese's inconceivably meticulous Dostoevskian noir employs psychological depth and personal sentiment to an extent few films dare. The ostracized Travis' hopelessly distant musings on human behavior effortlessly draw sympathy. Genuinely confronting worldly scum and banal, systematic evil make his psychotic break understandable even when his repellent actions aren't. A masterful urban nightmare and a perfect film.
"Someday a real rain's going to come...." "days go on and on and they don't end" Paul Schrader's brilliant script is one of the seventies best. Scorsese's depiction of NYC as one of Dante's circles of hell is fascinating. The film was a perfect anti-bicentennial film in 1976 and still stands up as a masterpiece today. A perfect music score by Hermann, brilliant editing and brilliant acting especially DeNiro.
Hands down the greatest first-person character study of all time - Scorsese truly put me in the point of view of De Niro's character. And this movie just happens to have Harvey Keitel's best performance - his chemistry with De Niro is so exquisite and fascinating.