🎦 Taxi Driver full movie HD download (Martin Scorsese) - Drama, Thriller. 🎬
Taxi Driver
Drama, Thriller
IMDB rating:
Martin Scorsese
Robert De Niro as Travis Bickle
Jodie Foster as Iris
Harvey Keitel as Sport
Leonard Harris as Charles Palantine
Peter Boyle as Wizard
Diahnne Abbott as Concession Girl
Frank Adu as Angry Black Man
Gino Ardito as Policeman at Rally
Victor Argo as Melio (as Vic Argo)
Garth Avery as Iris' Friend
Harry Cohn as Cabbie in Bellmore
Copper Cunningham as Hooker in Cab
Brenda Dickson as Soap Opera Woman
Harry Fischler as Dispatcher
Storyline: Travis Bickle is an ex-Marine and Vietnam War veteran living in New York City. As he suffers from insomnia, he spends his time working as a taxi driver at night, watching porn movies at seedy cinemas during the day, or thinking about how the world, New York in particular, has deteriorated into a cesspool. He's a loner who has strong opinions about what is right and wrong with mankind. For him, the one bright spot in New York humanity is Betsy, a worker on the presidential nomination campaign of Senator Charles Palatine. He becomes obsessed with her. After an incident with her, he believes he has to do whatever he needs to to make the world a better place in his opinion. One of his priorities is to be the savior for Iris, a twelve-year-old runaway and prostitute who he believes wants out of the profession and under the thumb of her pimp and lover Matthew.
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This Emperor has an obvious "wardrobe malfunction."
So many have told us this is a great movie, if not one of the greatest. Why? At the beginning, we are introduced to a man, Travis Bickle. who is behaving in a kind of infantile way. We have no idea why. Is he new to the city? All we really ever learn is that he was in the Marines, honorably discharged, and he thinks New York City is filthy, disgusting, etc. Why? The cinematography actually makes the city look vibrant and dynamic. I was there, at the time, though not quite an adult yet, and never got the sense that it was a filthy, disgusting place, despite my parents' somewhat paranoid attitudes. Granted, I did not travel all over Manhattan, as a taxi driver might, but that just compels the viewer to ask why he is in New York in the first place, let alone driving a taxi there!

When Iris talks about going to a commune in Vermont, he says that it's not the kind of place for him. What is? Yes, we understand he is "disturbed," but we are given no clue as to why, which creates a frustrating quality to this film. We get quite a bit of cozy music (which sometimes goes "dark") with the wonderful cinematography, and in general the city appears quite interesting, and not especially dangerous. Why weren't there several scenes of violent crime? Was prostitution only occurring in Manhattan at that time? There is a kind of self-contradictory quality to this film that irritates, and there is not even an attempt to resolve it. A glaring example of this is the long scene with Iris and her pimp; what are we meant to infer from it? It almost seems like Scorsese wants us to think that the "bad" New Yorkers aren't really that bad. If so, it contradicts the apparent point of the film. If not, why was it not cut out of the film?

We do see some characters that represent the more "positive" side of New York, including the politician, Charles Palantine, and one of his campaign workers, Betsy. Does New York appear to them the way it does to Travis? For the most part, if they are concerned with someone who might do them harm, it is Travis, not the people he regards as "scum." This is where the movie could have gone, and it would have been consistent with society, especially the "white flight" of that era. We would see that less educated, more "ethnic," "white" people had become nearly paranoid with stories about fictions, such as the "black snipers of Newark," for example. We could then see the politician character fanning the flames of such fear, perhaps prompting Travis to do something violent. We could get flashbacks and find out that Travis sees Palantine as a surrogate father. Those kinds of scenes could provide some grounding (social and psychological) to this film. It would be a shocking twist for us to think that Palantine is taking Travis under his wing, only to find out that he is trying to use Travis to further his political ambitions, and at that point, with the cozy music turning "dark," an actual drama might just arise !

I like the idea of the world as seen through the eyes of a troubled man, so I don't object to this approach, but the audience needs some idea of why that person is the way he is (and you can't put in scenes that don't include that character, such as the one with Iris and her pimp). As it stands, this is a confused film. It's like the cinematographer went ahead and made his film while the director was making a contrary one. The soundtrack seems like an attempt to bring the two together, but it doesn't work because we haven't been shown enough contrast between "good" and "bad" New York, and too much is seen from the perspective of a character who seems seriously disturbed and clearly paranoid, for some unknown reason. And astute viewer might assume that it may be about racial strife, if we consider the recent history, circa the mid 1970s. Perhaps Scorsese just took that for granted, but there are ways of making your ideas known with subtlety, and Scorsese was unwilling or unable to do that here, for whatever reason. I think of an unfinished Old Master portrait when I think of this film, only with the background finished rather than the head !
DeNiro at the peak of acting excellence
Robert DeNiro gives a tour de force of acting excellence in this movie. One of the best acting performances of all time. This is a period of DeNiro's career when he was consistently churning out Oscar calibre performances one after another. He had this movie, Godfather Part II, The Deer Hunter, Raging Bull all within the same basic time frame. When DeNiro and Scorsese were teaming up to make movies it was the best actor/director combinations in movie history. You had the best mind for movies in Scorsese working with the best on screen performer of his time.

It's a study of a man who's completely alone in the world even when surrounded by other people. What DeNiro was able to do just looking into a mirror asking "Are you talking to me" by himself is one of the best movie scenes in movie history.
Disturbing, powerful, relevant, important
A towering classic of American cinematic power. Martin Scorsese teams up with one of the most intense actors of that time to create a masterpiece of urban alienation. Paul Schrader's magnificent script paints a portrait of loneliness in the largest city of the world. Travis never once enters into a meaningful relationship with any character anywhere in the film. He is the most hopelessly alone person I've ever encountered on film.

He is alone with his thoughts, and his thoughts are dark ones. The film fools you on a first viewing. Is Travis an endearing eccentric? Sure, he's odd, but he's so polite, and he's got a quirky sense of humor. His affection for Betsy is actually rather endearing. But on a second view, you see it for what it is. The audience comes to see Travis's psychosis gradually, but there's actually far less development than one might think. When he talks about cleaning up the city, the repeat viewer knows he doesn't mean some sort of Giuliani-facelift. This is less a film about a character in development as it is a kind of snapshot. To be sure, it takes the stimulus to provoke the response, but does that imply some kind of central change in the character?

Tremendous supporting roles are brought to life through vivid performances by Keitel and Foster especially. Shepard's character, Betsy, is little more than a foil to highlight Travis's utter alienation from society, but she is still impeccably portrayed. With only two scenes that don't center on Travis, it is unavoidably De Niro's show. The life with which the supporting cast imbues their characters is a credit to themselves, and to the director's willingness to let the film develop from the intersection of diverse ideas and approaches. What would the plot lose by eliminating the Albert Brooks character (Tom)? Nothing at all. He makes almost no impact on Travis's life, which is where the plot lives. But his inclusion makes the film as a whole much richer and fuller.

As a piece of American cinema history, this film will live forever. But far more important than that, this film will survive as a universal, ever-relevant examination of the workings of the alienated mind. The story doesn't end when the credits roll. We know Travis will snap again. But the story doesn't end with Travis either. It continues today in the cities and in the schools. The film is about the brutal power of the disaffected mind.

This film didn't cause the incidents in Colombine, or Hawaii, or Seattle, or wherever you care to look, even with all of its disturbing images of violence. It didn't cause those things. It predicted them.
A wonderfully engaging and convincing slide into a modern madness from a director and actor showing some of their best form
Travis Bickle is a Vietnam veteran who cannot sleep at night and just ends up travelling around. To try and use the time effectively he becomes a taxi driver. Things start to look up for him as he works nights and slowly starts to live a little bit. He meets a girl, Betsy, and arranges to see her a few times despite the fact that he is a little bit out of the ordinary – a quality that seems to interest her. His connection to the night allows him to see young prostitute Iris being bullied by her pimp Matthew and he begins to see his role to perhaps save her – him playing his part in cleaning up the sewer that he feels New York has become. However when his view of normal life puts Betsy off him he starts to retreat more and more into the night, looking for meaning in his life and growing more and more outraged by the world he is part of.

Hardly the most uplifting of films it is engaging and impressive and truly deserves the reputation it has. Martin Scorsese and Paul Schrader have produced a film that convincingly portrays a man cut out of society who has the slightest connection to normality before finding it eroded away. The script is brilliant because the detail is engaging but it is this descent into a very modern type of madness that drives the film forward. Travis has just enough about him that is recognisable that it makes it so easy to go along with the rest of his madness. A major part of this is getting the feeling right about living in a cesspit; a city that seems to have forgotten its way morally – New York is the strongest example but elements of it could be parts of any city I suspect. In painting this world in such a real way, Scorsese has made Travis all the more convincing and, to a point, all the easier to follow in his fall. Like I said it is not a film to morally uplift you but one that is depressingly fair. There is no redemption in this modern world and although it appears that the violence at the end somehow redeems Travis in reality by showing "society" accepting his action it drags the rest of us down nearer the world that he hates and has become part of. I love King of Comedy for the same reason albeit in a different world.

Scorsese injects a real understanding of the place and a real sense of foreboding into even the earliest scenes. He inserts clever and meaningful shots into scenes that other directors might just have filmed straight and his choice of scene and shot compliments the script is depicting Travis descending into madness. What makes the film even better is De Niro showing the type of form that makes his recent form such a major disappointment. He is outstanding as he moves Travis from being relatively normal to being eaten up from the inside out. His eventual implosion is impressive but it is only as impressive as the gradual slide he depicts over the course of the film. Although he dominates it, others impress as well. Foster stands out in a small role, while Keitel makes a good impression as the pimp. Shepherd is not quite as good but her character was not as well written as the others so it isn't all down to her. Regardless, the film belongs to De Niro and although the quotable scenes are the ones that are remembered it is in the quieter moments where he excels and shows genuine talent and understanding.

Overall an impressive and morally depressing film that deserves its place in cinematic history. The portrayal of a city and a man slipping into moral insanity is convincing and engaging and it shows how well to "do" modern madness and the effects of the moral void of parts of society. Scorsese directs as a master despite this being at an early stage in his career and De Niro is chillingly effective as he simply dominates the film in quiet moments and quotable moments alike. I rarely use phrases like "modern classic" because I think they are lazy but this is one film that certainly deserves such a label.
De Niro masterpiece...
this could have been only a "good" movie, but De Niro's interpretation makes a very good one out of it. the first half of the movie i was still in expectation of something. there are a few longer scenes, that could be not that tasteful for one or another. to be honest, i had expected more from Scorsese on this movie, but my expectations regarding Robert De Niro were fulfilled. thats why i consider that De Niro "saved" this movie with his interpretation. otherwise, i saw a rather pale Cybill Sheppard, and a pretty convincing Harvey Keitel. i like the created atmosphere in "taxi driver", the theme is very in actuality these days also. well done, Robert!
De Niro standing in front of the mirror practicing his insults ('You talking' to me?') is one of the landmarks of contemporary Hollywood cinema…
The opening images of the yellow taxi cab moving slowly through clouds of steam, seems an authentic vision of the city as netherworld, a landscape of gaudy nightmares… Travis himself is an unnerving combination of psychopath and naive innocent, a victim whose attempts to put the World to Rights produce yet more victims…

Like other troubled heroes of the era, Travis is an ex-Marine, working nights as a New York taxi driver, observing with increasing disgust the human flotsam that comes into his cab… His attempts at human contact are a failure… An icy political worker whom he takes on a date (Cybil Shepherd) is repelled by his taste of porno films… He tries to rescue Iris, a teenage hooker (Jodie Foster), but increasingly his mind is under tension, and, prevented in his attempt to assassinate a Presidential candidate, he murders Iris' pimp Sport (Harvey Keitel) and a client in an orgy of what he intends a redemptive violence…

Scorsese's film: a study of urban alienation, and a restless, fluid camera contributed to a view of New York as hell on earth, and mirrored the protagonist's growing insanity…
Urban Anomi.
A truly disturbing movie. Travis Bickle (Robert DeNiro), great name, falls into a mood of brooding, amorphous rage and is frustrated in his attempts to murder a politician. So he wipes out a couple of low-life pimps instead.

The story tracks him through his descent into insanity. Interesting folks are encountered along the way but have less impact than rubber bumpers have on a pinball. Cybill Shepherd and Peter Boyle, for instance. Boyle is one of a handful of taxi drivers, like DeNiro, who gather at a certain café to shoot the breeze on breaks. He's particularly funny in his working-class disinclination to think things through. "Them queers" have to get married and divorced in California, he says wonderingly. I saw this in the Castro Theater in San Francisco and the audience erupted in laughter. When DeNiro asks for advice and gets nonsense in response, Boyle asks, "What do you want, Bertrand Russell?"

The film is unusual for Martin Scorsese. His most successful work has been with solidary groups, like small time hoods and the Mafia, in which there is an agreed-upon set of rules, and everyone knows everyone else. This one digs into urban anomie. "Anomi" is a concept developed by the French sociologist Emile Durkheim and it means, essentially, "without rules." It's the kind of thing you experience when you drive into a vast strip mall parking lot and all the yellow lines guiding traffic have been erased. What do I do NOW, Ma?

Scorsese is examining a social world that, as an Italian Catholic, he really has had little contact with. The film was written by Paul Schrader who, as an ex-Calvinist, is a little more familiar with this sort of ontological anxiety. It crops up in the production design. When DeNiro makes his unfulfilling meeting with Jody Foster, the twelve-year-old whore, it collapses in misunderstanding but in the background there are a multitude of Catholic candles. The climactic scene has a voice reading a letter to DeNiro from Foster's square Midwestern parents, congratulating him for an act that was ancillary to his own agenda, which was evidently to bring the world down around his ears.

A film of the 1970s, it resonates less with audiences today. The racial troubles that were so headline-grabbing at the time show up less often in the news today. Not that the problem of race is solved, but the categorical thinking that divided us into two warring tribes has less relevance. The resentment simmers but has been cut off at the ankles, partly by our recent election of an African-American to the highest office in the nation. At the same time we have to admit that, as a nation, we are pustular with hatred for each other and for other countries that may not behave the way we want them to. Our leading presidential candidate has made it clear that he will go to war with Iran if Iran doesn't give up its nuclear ambitions. These attitudes come from the same place as Travis Bickle's.

Most powerful shot in the movie: the camera slowly moves in on a bubbling glass of Alka Seltzer on the table in front of Robert DeNiro. All that fizzing is but one step removed from the explosion that is to follow.
Taxi Driver interprets Shakespeare
THE SICILIAN CONNECTION Taxi Driver and The Winter's Tale What follows comes from work in progress on how Scorsese's movie may cast light on Shakespeare's play.

At the end of Pasolini's film of Œdipus Rex the blind king walks out of his world into the streets of modern Bologna. If Leontes, King of the Sicilians,went missing, where would he reappear? The hero of Taxi Driver turns up in modern New York of 1976, as if out of nowhere, or maybe one of his own bad daydreams. He's looking for a job to suit an insomniac. Like the Great Gatsby, Travis Bickle seems to be be born of his vision of himself, and this casts doubt on the substance of both self and vision.

He gets a job driving a yellow cab. Then he falls for Betsy, a girl with class Then he goes out of his way to foul up by taking her to a blue movie. There, his attention is soon distracted from the real woman at his side . Betsy checks out in disgust. Later he calls her on the phone, but you can't tell whether there's really anyone at the other end. So his thoughts turn to 'saving' Iris, a twelve-year-old hooker who has also come out of nowhere, into his cab. Taxi Driver is set firmly in the eponymous mean streets of an earlier Scorsese movie, and before that, of The Godfather, the daddy of them all. Travis now has to kill some bad people, one of them Iris= trick, a Mafioso. Travis has already killed her pimp Matthew, or Sport - almost twice. In the street outside the tenement where she trades he shoots Sport in the belly before going inside to continue his righteous massacre. The pimp reappears in the hallway, alive and armed, and has to be gunned down again, as if to get it right. But Iris is saved, Betsy forgives Travis now that he=s a hero, and Travis survives. Or does he? Do they? Does any of it happen at all? Can such questions be asked of a work of fiction? In Taxi Driver the narrative viewpoint seems clear. The film opens and closes on Travis' brooding eyes. Intermittently he gives a running commentary in voice-over, which turns out to be the journal he keeps. Sometimes the screen shows things that appear to happen independently, without his knowledge. So these events seem to be 'real'. But they decrease in credibility. Travis sits in his taxi outside a building inside which a tender scene takes place between Iris and her pimp. And now Sport says: Come to me, baby, and he puts a record on the phonograph. He tells her: I'd like every man in the world to know what it is to be loved by you. Inadvertent humour can't get much bleaker. But whose joke is this? Travis buys a suitcaseful of artillery. He practises quick draws in the mirror. Sometimes he packs two guns, but he (as distinct from his reflection) is right-handed. Especially with his star weapon, a forty four magnum. In due course he uses it to shoot off some of the fingers of Iris' 'timekeeper'. Strangely, this has earlier and out of his hearing been described as a typical Mob punishment. Then, in reverse shot, we see the gun in Travis' left hand. He goes on to finish killing the pimp, the mobster and the timekeeper. And then himself - a death he has clearly intended or expected - except that now he=s all out of bullets. So he pretends. He points a finger at his own temple. It lets fall a single drop of blood. He gives a death=s head grin. His thumb works an invisible hammer. Bang, I'm dead.

Afterwards he gets police commendations, glowing press reports and grateful notes in what looks like his own handwriting. He loses the scar where a bullet creased him in the neck He grows back his hair, which he'd shaved to a Mohican crest. Finally exalted to a realm above human love and desire, Travis can patronise Betsy, who wistfully seeks him out, but can't get to him now. He's gone through the looking glass. Taxi Driver is perhaps the most chilling representation of psychic death ever to reach a universal audience. The question is: what sort of representation? In a Steinberg cartoon the subject, pencil in hand,is shown completing the picture which is himself. That picture is another of those 'impossible' objects which is possible because there it is. The work of art has become its own creator.

It's been said that a work of art goes about the world independently of its author's power to intend about it. In Taxi Driver it's as if the film itself has decided to dispense with the conventional markers that distinguish between what's 'really' happening and what's inside the hero's mind.

Such a work enacts the idea that all events, including events 'in the real world' are events in the consciousness; may only be events in the consciousness. We create the world, as they say, from moment to moment as we go along. If our dreams are allegories of the way we experience this world, then by extension our waking perception may be the same; except that it has to adjust itself - from moment to moment as we go along.

The movie screen, arena of the 'dream factory', is the obvious place to see this happening. So is the theatre. Shakespeare's The Winter's Tale is like a still, a tableau which suddenly comes to life out of a sort of Arcadian trance as in the Book of Genesis; and as in Genesis, with the touch of the serpent's tooth. It shows a man in torment because he's recreated the world as the hell in his own mind. A hell which he has to exorcise in blood. To understand Shakespeare's great work you could do worse than read it through the eyes of Taxi Driver.
De Niro was outstanding!
I actually saw this for the first time this morning. I couldn't sleep and it was on at 4am. It was every bit as good as I was led to believe.

Comparing the two, I cannot see how this lost to Rocky at the Academy Awards. Scorsese fans will also agree that he deserved a directing award for this film. While De Niro and Foster were fantastic, I feel that Cybill Shepherd was equally good, and should have been recognized for her performance. This film won 18 awards out of 27 nominations. Basically only the Academy didn't get on the bandwagon. But, in all those nominations, none for Sheperd. I really think that was wrong.

Great film, and I will watch it again and again.
"Here is a man who would not take it anymore".
In a calculated exercise, I watched "Raging Bull" and "Taxi Driver" back to back today. Two classics, and two films generally recognized by critics and fans to be among the best of all time. Personally, I think Bull was the better showcase for both De Niro and director Scorsese as the four years between films allowed both to improve on their respective crafts. In terms of favorites, that might be a moot point, as both are darkly disturbing and violent films, with main characters that aren't particularly honorable, much less likable.

Indeed, both characters, the fictional Travis Bickle and the real life Jake La Motta were haunted by personal demons that manifested as forms of mental illness. La Motta's brand of violence was legal inside the ring, what he carried into his personal life resulted in a lifetime of unintended consequences. The outcomes of fictional characters can be manipulated to suit the priority of the writer or director, so in the case of "Taxi Driver", the protagonist winds up as sort of a hero, at least to the parents of twelve year old hooker Iris. I'm not sure if the point of the film had anything to do with showing how one's life can turn on a second's notice or not. However when Bickle's assassination attempt on Palantine (Leonard Harris) was foiled, the succeeding events could have led to his own demise. Instead he's reborn, sort of. One could sequel the story after Betsy (Cybil Shepherd) gets a cab ride from Travis at the end of the picture, but it's probably better left to the viewer's imagination.

A tiny detail caught my eye in both pictures today which I'm sure I would never have considered had I seen them days or weeks apart. In the carnage of the shootout scene, when the cops make their presence in the doorway of the rented room, Bickle puts a bloody finger to his head simulating a gunshot, and two drops of blood drip from his finger. Scorsese used the same device again in "Raging Bull", when Jake La Motta is badly bloodied in his final fight against Sugar Ray Robinson. As the boxer sags against the ring ropes, the camera focuses on the top rope a few inches away from La Motta's outstretched arm. Two drops of blood fall from the rope to the canvas to further intensify La Motta's defeat. At the time, I couldn't say why I found that to be so fascinating, but now I do.
📹 Taxi Driver full movie HD download 1976 - Robert De Niro, Jodie Foster, Albert Brooks, Harvey Keitel, Leonard Harris, Peter Boyle, Cybill Shepherd, Diahnne Abbott, Frank Adu, Gino Ardito, Victor Argo, Garth Avery, Harry Cohn, Copper Cunningham, Brenda Dickson, Harry Fischler, Nat Grant - USA. 📀