🎦 Taxi Driver full movie HD download (Martin Scorsese) - Drama, Thriller. 🎬
Taxi Driver
Year:
1976
Country:
USA
Genre:
Drama, Thriller
IMDB rating:
8.5
Director:
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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Reviews
Easily the most powerful and meaningful movie of all time
Taxi Driver in my opinion could quite possibly go down as the greatest film of all time. It's wonderful direction by Martin Scorsese and great acting performance by Robert De Niro, and it's music make this film powerful and revlevant. It is very powerful and meaningful for more then one reason, it's take on themes like racism, madness and today's society is classical. This movie is a top 10 of all time in my list.
1999-12-30
Live it and lose it
Scorsese's best. Not too many hyper-critical reviews of this film have anything near as intelligent to say about what the director and the screenwriter had in mind when they created this American gem.

To those people that have seen it and thought it was "slow" or the pacing was sub par, they don't know what they're talking about; "Taxi Driver" is about the gradual and eventual take-over of insanity, and not about violence, action-shoot-'em-up 'slash' car chase... or whatever they expected from it. The modern audience today is expecting everything--comedy, drama, unbearable suspense, spfx--all rolled-up into one-stop entertainment... and no, I'm not anybody's grandfather, or here to tell you that movies were great in my day, but, viewers, lighten up already.

De Niro, and the rest of the cast, do a serviceable job in this micro-cosmic window into the life of Travis Bickle--a Vietnam vet--who, true, writes mind-numbing entries in his diary, leads a, for the most part, dull existance as a cabbie, and strikes out with a female political campaigner who, after Travis becomes a hero, discovers she is indeed attracted to unstable, sometimes violent chauffeurs.

The rest of this movie's story is for the less initiated viewer; decide whether you've truly become desensitized to sexual and violent content in today's films... Ah, forget it! You have to have lived at least some of which goes on in "Taxi Driver," or you've just been plain lucky in this life so far.
2003-01-15
Bleak and Depressive
The former marine Travis Bickle (Robert DeNiro) is insomniac and decides to work as taxi driver in the night shift. Travis is a lonely uneducated man that spends his leisure time watching porn films in the theaters. When Travis sees the gorgeous Betsy (Cybill Shepherd) working as a volunteer in the campaign for president of Senator Charles Palantine (Leonard Harris), he has a crush on her. He invites Betsy to drink coffee with him and later he dates her. However he takes her to see a porn Swedish movie and she feels offended and leaves him. Travis unsuccessfully sends flowers for her but she rejects him. Travis meets the young prostitute Iris (Jodie Foster) that is trying to flee from her pimp Sport (Harvey Keitel) in his taxi but Sport takes her from the car. Travis also buys several weapons from a dealer and practices shooting. When he meets Iris again, he is resolute to help her. Will Travis succeed in his intent?

"Taxi Driver" is a bleak and depressive film directed by Martin Scorsese about lowlifes and losers in New York. The lead character is an unstable taxi driver poorly educated and capable to bring his date to watch porn film since he does not know any other genre. Robert DeNiro has magnificent performance and Jodie Foster is amazing in the role of a twelve year-old prostitute. My vote is eight.

Title (Brazil): "Taxi Driver"
2015-08-24
We're All Lonely
Watching Taxi Driver made me realize everything I thought I knew about movies was wrong and I had much to learn about film. The truth of my initial viewing is Martin Scorsese's direction dropped me so far into Travis' mind and I never understood any of his actions as wrong. I didn't see him as a vigilante or even insane, I felt his struggles, loneliness, and desire to cure the world of uncivilized people. It was not until I read up on the film after the fact that it hit me, Taxi Driver is a diary of a mad man, not a "hero's tale." This led to a magical rush of cinematic brilliance inside me, lined in a sour sorrow that maybe I was crazy because I've been extremely lonely. Maybe everyone's crazy. Are we crazy because we're lonely?

We've all felt like that dead animal Travis focuses on as he watches TV, while everyone on the screen dances around the fallen soul. What Scorsese makes of Taxi Driver is not soley educating us about the loneliness we may feel, but presents us with a theory on why we are so lonely: we make ourselves lonely when the lines between what we want and what we can have do not overlap. We try to reach out, but the people we want, do not want us back. There are people that accept us into their lives, even if we surround ourselves with them, we will still feel unfulfilled by the absence of the people we want. This makes us feel unworthy on top of the loneliness.

Betsy represents who Travis wants unmutually and Iris is the woman he can literally have, but has no interest in possessing. Using his masculinity, Travis can't extract revenge on Betsy by killing the man she looks up to (the presidential candidate), so he kills the man of Iris he is able to murder (the pimp).

Taxi Driver show's Travis' loneliness in two specific acts in the finale: 1) the need to change the world's problems (with the shootout) and 2) wanting to end his miserable life by killing himself. After Travis kills everyone he desired to in the finale to save Iris, he puts the gun to his head and pulls the trigger. The light sound effect of an empty gun brought the biggest gasp from me embedded in intense sorrow and the slight disappoint Travis feels. Loneliness pushes us to extremes that with a fulfilled life we would think we would have to not sink to.

Not only is it my opinion that I think this is Scorsese's best film, but I would guess this is one that's most personal to him. In particular with the placement of his cameos 1) by gazing at Betsy, he's acts as Travis 2.0, showing his fascination and love/lust for her. 2) the man in the back of the taxi cab who literally directs Travis on screen to a method of expressing his loneliness through violence. The framing of Scorsese to DeNiro make the director like the "devil" on the side of Travis' shoulder, telling him to feed into his dark side.

Scorsese is aided by Robert DeNiro's portrayal, there's no adjective to describe the superb acting he performs as Travis Bickle. One of the finest performances in cinema, he's a factor that made my first reaction so personal. DeNiro's finest scene is talking to The Wizard outside the coffeeshop. We understand Travis, we've been in his mind, we know what he wants to say, but he struggles to communicate when he tries.

The point of view of Taxi Driver is crucial to the brilliance of Scorsese's work. He puts us in Travis' mind and his feelings. To realize Travis's violent, criminal actions fed me food for thought: how do we know if we are like Travis? Inside our own minds, we are the heroes and everyone else is a possible villain. We have a magnificent image of ourselves in our minds, even in Travis' head, we feel victimized by Betsy. However, if we look at the story from Betsy's point of view: Travis is a creepy guy that took her to a porno movie theater and stalks her every move. Can we *really* blame her? Perspective is key here and thinking of this fact may help broaden our minds to accept other people's perspectives, not only our own in everyday situations in real life.

During my most recent viewing, I took particular interest in focusing on the heavy use of taxi cabs as symbolism for loneliness. The taxi itself boxes Travis in from everyone him, he's enclosed from the world only able to see what and who is around him never reaching true intimacy. Taxi cabs are yellow, yellow is a color usually associated with being a optimistic, which gives Travis pain as a taxi driver all the more sick. Travis sees New York as a filthy space with evil people. Scorsese makes us feel Travis is driving through Hell, with the company of the vast smoke surrounding the taxi cab. The first shot after the taxi cab entering though the smoke is that of Travis' eyes, full of confusion and fear of the unknown. The symbolism is taken advantage of by the director and cinematography, as well as creating new inspired camera shots.

"We are the people," is the slogan of Charles Palantine, it also becomes the tagline of the film. "We are the people" unites us all in the universal hopeless feeling of loneliness. It impacts us all, even if the wave hits some of us harder than others. The last shot of Travis looking back into the rear-view mirror tells us that Travis is standing tall at this moment of ignoring Betsy now that she desires him, but the loneliness still lurks underneath the surface.
2013-12-09
Scorsese, Schrader, and De Niro combine to deliver a masterpiece
In Taxi Driver Scorsese gives us a deep character study of a lonely man, "God's lonely man" if we're to believe our narrator Travis Bickle (De Niro). Travis is a Vietnam veteran who takes a job as a taxi driver at night in New York because he can't sleep. He cruises around New York looking for a fare and constantly finds himself drawn to the seediest parts of the city, despite his hatred of everything these places stand for and the people who live and make their living there. Right from the start we have an idea of where Travis is going from when his cab emerges from the white smoke of hellfire. Not literally of course but there is plenty of similar imagery throughout from the overhead view of the guns that the dealer lays out on the bed like a priest looking down at the altar to when Travis holds his clenched fist above the gas fire stove. Like all of Scorsese's greatest films Taxi Driver is imbued with ideas of religion and guilt.

There is little plot to this film but that is unimportant, real life has no plot. Taxi Driver is about character and the character of Travis Bickle is so frighteningly real that he is captivating throughout. This is a man who fails to connect with those around him on almost any level, his date with the beautiful, idyllic, Betsy (Cybill Shepherd) goes disastrously wrong and there is even a lack of camaraderie between him and his fellow taxi drivers who are the closest thing he has to friends. And yet Scorsese makes him fascinating to watch, of course De Niro is great here and how he manages to get us to empathise with Travis is no small feat.

This is a film that I could watch again and again, and I surely will, it is a classic. The way Scorsese shoots the film, New York has never looked so gritty and Herrmann's accompanying score is fantastic, the only shame being that this was his final work. Films like this just do not get made any more.
2010-04-25
Unrelenting descent into one man's private hell.
One of the most talked about films of all time is Martin Scorsese's Taxi Driver, it has been pored over, analyzed, and dissected to within an inch of its life it would seem.

Taxi Driver is something of a bad dream, it's like we are privy to the melt down of the man next door because Travis Bickle has a certain level of believability, and it's this fact that makes Taxi Driver such a riveting and skin crawling delight. We see New York from the confines of Travis's Taxi Cab, the grim and grime of a dead beat society is itching away at the viewer because of the claustrophobic nature of the viewpoint, we see thru Travis's eyes, his shifty tortured eyes. This grim urban play gains maximum impact from Bernard Herrmann's score, one moment we are listening to a jangly pornographic sounding jazz/blues fusion and then we get Travis accompanied by judder music, unstable judder music! Michael Chapman's cinematography is appropriate to the feel of the film, some how it feels off kilter to further emphasise the unease unfolding on the screen.

The supporting cast are as impressive as they are memorable, Jodie Foster lays down a marker that she thankfully continued to improve upon, Cybil Shepherd gets to look pretty and convince as the intrigued but cold Betsy, whilst Harvey Keitel manages to get away with sleazy pimp portrayal by enthusing the character with menace without the histrionics.

It's Robert DeNiro's show all the way tho, everything that has been said and written is true, he has the viewer firmly in his hand, from the portrayal of the uncomfortable loner at the start, right to the mohawk wearing crusader at the end, he scares and enthrals in equal measure. He is Travis, and no greater compliment I can pay his performance than to say that I feel I'm along for the ride with Travis, he has my undivided attention, always!

One of the best films of the 70s. 10/10
2008-03-04
At a Glance: Taxi Driver
Giving this movie more than just a quick look should be named a mistake already. Through all of things it covers such as the Political Campaign to Sport and his girls, are only a small thought in the true Character study of Travis (De Niro). Its not really a day in the life of someone who's crazy, but a life of hardship and loneliness that has been brought to this very point the viewer is witnessing. If you watch the movie for more than ten minutes or review and try to get a better understanding you'll notice different details about what the movie is actually trying to display.

** SPOILERS **

The movie starts off in New York City where we first see Travis applying to be a night shift cab driver. He claims to not be able to sleep at night and drives around. Through the movie we evaluate how lonesome and anti-social he is by how many times he fails to befriend or make conversations with others. Through messing up a relationship with a woman working at campaign office, and other faults such as a murderous man in his cab, a teen aged prostitute, and the "Scum" observed on the streets, Travis slides deeper into a disturbed mental state which causes him to become violent and stand up against what he's finds wrong through the film. He attempts to assassinate the presidential candidate through the movie that Betsy supports because like Sport (Harvey Keitel) to Iris (Jodie Foster), he is a man holding her back from being set free or being with him.

**THE ENDING**

If you've seen the movie you would be aware of the ending that almost donned the film an X rating.

Iris is declared free and is sent back home to her family. (this is the only part of the ending we can actually call true)

Ending 1: The Viewers misunderstood, but emotionally well ending.

After the massacre Travis spends time healing in the hospital and is eventually released and named a Hero by the press. Iris's family give him thanks for rescuing her and being such a good person. Life returns to normal and he continues to drive his taxi, he picks up Betsy and a fare. Through confidence they speak and she is impressed by his actions, she asks how much and but he doesn't take her money. Travis is finally known and loved for protecting the girl and taking wrong doers off the streets. Accomplished. Driving off he views himself in the mirror, and a piercing noise dissuades his attention and his mirror gets moved trying to view something in the street. This ending could be called true by the possibility of a sequel in the works.

Ending 2: The Satisfying and perfect character study ending.

Through the film we watch Travis go from being a sort of normal guy just trying to get by, from the end he slips up and finds himself working between assassin and vigilante. We watch him kill the people holding Iris from living what would be a normal life, and see him being wounded in the process. As the police come in Travis his fingers to his head like a gun and you see when his head tilts back his eyes roll back. In film thats dignified as a characters death. Directly after the scene, we notice Travis's life has improved and he has been renown as a hero by the press, thanked by Iris's family, a good guy, and also confident to the woman he's been trying to get the entire movie. Travis finally has the satisfaction he's been looking for the whole time, but doesn't it seem like its happening rapidly together? In the film you have watched Travis's persona changing along with the character analysis. Knowing his goals the entire time you finally get to see them flourish, after the tone of the film changes entirely. To the Point where Travis tilts his head back, to where he adjusts his mirrors, your seeing his fantasy and fulfillment he was always wishing for. To be seen and noticed, as a hero or maybe even less. Travis is finding satisfaction in what isn't actually true, as his last dying thoughts. He doesn't notice something in the rear view mirror with a sharp noise, he vanishes from his sight because he isn't truly there. His life has ended and his fantasy has finished along with the film.

As the movie is a character study for insanity this ending would be perfect because you see him from his good descent to a vigilante to his last dying thoughts of love and being noticed he dreamed of. It makes the movie beautiful and worth all of the hype just to see, his character as detailed and deformed as it is. I can watch it over and over and notice something else every time.

The ending is haunting every time, no matter how you think about it because it leaves you with a 'what just happened'? If it means a sequel to find out what happened with fiction or reality, life or death for Travis. I Think i would rather keep the mystery
2011-02-22
Travis Bickle is the definitive Gotham City avenger...
If only bad-ass cartoon characters like Batman and Spawn could muster one-tenth of the psychotic rage Travis Bickle possesses. Bickle's cape is the Vietnam Marine jacket that he wears throughout the film. The way "Bickle" is stenciled on the back it might as well be a giant "S" or the insipid Bat logo that various actors have exhibited though a series of pointless films. The whole film unspools like a dream that a Vietnam grunt could be envisioning while dying in a rice paddy on the other side of the world. (Oh, wait, that was Jacob's Ladder...) Travis is a gratingly rascist and moralistic character and the black pimps and drag queens he regards with such contempt through his cab window could be stand-ins for the Vietcongs he couldn't quite vanquish when he had the chance. His plan to assassinate the Presidential candidate is undertaken with the same ritualistic precision of a military mission. For Bickle the war has not ended and he has simply transposed the conflict onto the streets of New York. His bipolar view of the world--people are either angels like Betsy or "scum sucking scum" like Sport--is eerily prophetic of America's current perception of world events. (You're either with us or you're with the terrorists) When Travis wishes for "a real rain that'll wash the scum off the streets" he sounds chillingly like John Ashcroft or, Dubya, or even Guiliani (who almost accomplished what Travis couldn't) It's sobering to think that an outlook as disturbed and childishly naive as Travis' could morph into the mainstream point of view.

(POSSIBLE SPOILER) Current politics aside, the little coda at the end of the film, when Travis is back at his job, a reluctant hero among his fellow cabbies--albiet with a lingering soreness in his neck --has always mystified me. Could it be that that last ride with Betsy, whom Travis merely glimpses at through the mirror, is in fact his out of body release into death as he sits amidst the bloodbath back in the hotel room? I think Scorsese strongly implies this when De Niro takes one last look at himself in the overhead mirror and suddenly his face disappears from view. Notice the musical sting right when that happens. It's utterly chilling; a depiction of death more unnerving than anything I've ever seen in another film. (Or at least on par with the flash of white leader when a man shoots himself in Mean Streets.) The film is timeless and it reflects meaningfully, like a looking glass, on each era we pass through.

2002-01-12
A Major Borefest
What a sorry excuse of a movie and a waste of 2 hours of my life. Don't get me wrong, I like old movies, from the musicals, to the epics and any well acted movies. I bought the DVD thinking that this was a highly rated classic from the 70s. What it really is actually is a 2 hours borefest with dull acting and practically nothing happening for the first 65-70 mins of the movie. The story revolves around a lonely 26 years old taxi driver that was a loner and outcast and clearly have physcological issues. His ill-conceived atttempts to woo a young women named Betsy backfired and push him finally into mental instability.

Then as if suddenly realizing that there is clearly nothing much in both the script and the story line in this sorry excuse for a movie, the Director saw fit to inject the last 10 mins with a meaningless violent bloody gunfight. The entire movie is so meaningless that people must be blind to rate this as a classic.

I urge anyone thinking of renting or buying this movie to think twice. Don't throw away 2 hours of your life watching this piece of crap.
2011-05-17
A Very Young Robert DiNero
No matter how many movies I see Robert DiNero in, I am always left speechless at his performance. I can't remember the first movie I saw him in, but I had never seen this movie. Of course, I had seen that one famous seen - the "you talking' to me" scene. It has been spoofed and made of in countless films and TV shows, so when I knew I was going to watch it in it's seriousness, I wasn't sure how I was going to feel. Of course, there was no comedic acting in this scene. It was quite terrifying, in the sense that Robert DiNero made me believe he was truly dangerous and psychotic. The fact that this movie came out in 1976 was very important to the context of the movie. People were angry at the government, they became anti-establishment and very vocal about their concerns and this movie gave the people a spokesperson in Bickle.
2011-05-06
📹 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. 📀
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