🎦 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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No Sympathy
This film is memorable and is always a compelling piece of film-making. It offers a realistic view as the urban environment as the ultimate alien environment to a person who is incapable of connecting to other people. At the beginning of the film, we have sympathy for Travis. His thwarted efforts at trying to have a conversation with the woman who works behind the candy-counter in the porn theatre is pathetic. When Travis takes Betsy for coffee, we see him doing his best at getting the relationship off to a good start. We see a man who doesn't know the "games" that people often play in interpersonal encounters, and we are hoping that he gets a second chance with Betsy. But when he does, that's when our sympathies dissolve for Travis, and we realize how out-of-touch he is, how utterly socially inept he is. For the obvious reason that he takes this beautiful and educated woman to a sex film. How unaware and tasteless can a man be? Why should we feel sorry for Travis when his subsequent efforts to try to et back together with Betsy go rebuffed? From then on, we don't have a film about loneliness as the film claims to be, but a film about descent into madness. Travis becomes a comic-book character, who is acting in his own movie, albeit as either a cowboy or an Indian. Travis becomes an Action-Hero suffused with anomie. He becomes a socio-pathetic warrior in search of an enemy. His intentions with Iris are noble, but the means of execution are criminal. He becomes more violent and misanthropic than any of the sleazy characters he disdains.
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.
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…
A Shattering Tale In First Person Singular
The impact that "Taxi Driver" had in its day hasn't diminished, on the contrary, it has acquired a relevance of Shakesperean proportions. Travis's loneliness is a hyper representation of the same loneliness most humans have experienced at different times in different measures. It is always associated with a nightmare and Martin Scorsese delivers it like a nightmare. Travis, possessed by Robert De Niro at the zenith of his powers, cruises in his taxi enveloped in Bernard Herrman and we, well, we're the passengers and everything looks terrifying and familiar at the same time. Paul Schrader sensational screenplay comes to life with the jolting force of a rude awakening. Like it happens, more often than not, with masterpieces, it signed in a rather direct way the lives of the ones who live it in a movie theater and the ones who made it. Scorsese being the giant that he is, survived it and will continue startling us I'm sure but I also bet that for years everything he did was compared to this movie. De Niro and his "You looking at me" became such an iconic phrase that even he himself ended up impersonating it. Jodie Foster awoke the insane devotion of a real life would be killer and New York, the greatest city in the world was shown with its underbelly up. A work of art, a superlative reminder of what film could actually give us and very rarely does.
Profoundly disturbing but brilliant tale of urban isolation, obsession, and rage
Arguably Martin Scorsese's best film, writer Paul Schrader's best screenplay, and actor Robert De Niro's best performance. De Niro plays unstable Vietnam veteran Travis Bickle who the film follows down his rabbit hole of isolation, obsession, and eventual violent rage. The plot, as it is, has Bickle working nights as a NYC cab driver, becoming infatuated with pretty campaign worker, Cybill Shepherd, but when he sours that relationship due to his weird behavior, he becomes obsessed with saving pre-teen hooker Jodie Foster from her slimy pimp, Harvey Keitel. The plot could easily have become a simple Charles Bronson/grindhouse tale of urban vigilantism, but it's much more than that. Much has been written about "Taxi Driver" in terms of urban decay, isolation, desire, sex, misogyny, and as a critique of the media, all by others more eloquent than me, so I won't even try, but I will say that on a visceral level, the film is a ferociously disturbing piece of filmmaking. The audience is slowly drawn closer and closer to Bickle's madness, in a similar way to "Repulsion" or "Peeping Tom.". The audience almost understands and sympathizes with his where his thinking is coming from and are found rooting for him against the even more despicable of characters during the film's disturbing finale. Scorsese has presented a New York City that truly is a brutal urban nightmare, but at the same time has created surreal hallucinatory vision of NYC that may only be Bickle's perception of reality. Also of note, the film features memorable performances by Victor Argo, Peter Boyle, and Albert Brooks. Additionally, this was the final film scored by Bernard Herrmann and he delivers a memorably unrelenting and oppressive score that ranks among his finest. Overall, "Taxi Driver" is one of the finest pieces of cinema ever committed to celluloid, though due to it's profoundly disturbing nature will likely deny the film wide appeal.
God's lonely man
*********SPOILERS******* Seeming out of nowhere a taxi rolls out of the night mist and as it turns sideways on the screen facing the theater audience the title of the movie appears in eerie neon, so starts Martin Scorese's "Taxi Driver".

Travis Bickle, Robert De Niro, keeps a diary at home where he records his thoughts as well as his daily experience on and off the streets of New York as he drives a cab to support himself. "I'm God's lonely man" Travis constantly writes in his diary. Trying to fit into a vast an impersonal city like New York is too much for Travis. He feels more at home by himself with his thoughts and fantasies then socializing with people.

In the movie Travis has two relationships. One with a woman the other with a girl, both end up disastrous. The first with Besty, Sybill Shepherd, a campaign worker for presidential candidate Charles Palintine, Lenoard Harris, and the second with Iris, Jody Foster, a 12 year old prostitute who turns tricks for and is looked after by her pimp Sport, Harvey Keitel.

Travis spots Besty at the Palintine campaign offices in midtown Manhattan while he's driving his cab and falls in love with her. Travis going so far as to volunteer to work for the Palintine campaign so he can be with her. After a while Travis gets friendly and close enough with Besty to take her out to the movies on a date with him. It turns out that Travis' limited knowledge of the entertainment world, the only movies that Travis watches and knows about are porno flicks, leaves him hurt and humiliated when Besty, shocked that Travis would take her to an X-rated theater, walks out on him.

Some time later Travis back on his job driving a cab one night in the East Village encounters Iris trying to run away from her pimp Sport when she jumps into his cab. Sport gets into the cab with Iris and after sweet talking Iris to come back with him gives Travis a twenty dollar bill for all the trouble that Iris caused and tells Travis to forget all about it. Travis soon becomes fixated with rescuing Iris from her life on the streets and from working for Sport for whom Travis begins to develop a very strong and violent dislike of.

As the movie slowly moves to it's bloody and explosive conclusion it's obvious that Travis has gone over the deep end. Arming himself to the teeth and getting himself into shape, both physically and mentally, for the battle against all those evil forces that are lurking around him that is sure to come. His frustration together with his ignorance and alienation of the real world has turned Travis, who was friendly and likable if just a bit odd at the beginning of the movie, into a Frankenstein monster.

The movie "Taxi Driver" is filled with academy award caliber acting imaginary and gritty big city photography and a multi-layer story that's easy to follow due to a very skillful job of directing. The movie also has one of the most haunting and memorable musical score that I've ever herd in any movie and it more then deserves all the accolades that it received over all these years.

The only bad thing that I can say about "Taxi driver" is that director Martin Scorsese made the movie too soon in his career. It's been 27 years since Scorsese made the movie "Taxi Driver" and since then, with all the films that he directed, he's never come close to making any movie as good as it and for all we know he never will. Like Orson Wells in 1941 when he made "Citizen Kane" that over forty years until his death in 1985 Wells could never do anything on film to top that movie and the only place that Wells could go after he made "Citizen Kane" was down.
My favorite Martin Scorsese film.
It is an intense allegory of a lonely and disturbed taxi driver. He drives around the city doing his job and hating it. This man does not have a good life or anything close to a good motive. Whether it be from his insomnia with the painful memories of the Vietnam war or just wanting to get out of his version of hell, the streets of New York, is irrelevant. One day, he meets a child prostitute and is so disturbed by her situation that he decides to use her as an opportunity to act out in violent and unusual ways.

When I watched picture I wondered if I was supposed to feel sorry for this man. I felt like I shouldn't have, but I did. He is so disturbed and so inhuman, but in his mind he is perfectly stable and strong. I love films that challenge me like this one did. Travis Bickle is not a good person. That's one of the things that is established almost right away. He is among one of the most insane and disturbed characters I've seen in a motion picture. However, unlike other films that would paint him in a negative and stereotypical light, Scorsese has the balls to force us into his mind and force us to see the world from his eyes. We recognize what state of mind he lives in and what he feels about this world he sees. It is very unpleasant, but it is a powerful and daring thing for Scorsese to do.

There are parts in this film that seem to say that hell is the only place that Travis could exist in, no matter what. He is incapable of existing outside of this realm of decadence and self-destruction. He searches for good things in his life and grabs hold of them so tightly that he forces them to become bad things in his life to suit his situation.

Eventually, the film comes to the conclusion that he should stop searching for good things to change his life, and start searching for bad things so that other people's lives can change. The film is hard to watch at some parts, not because of it's explicit violence, but because of the emotional pain that Travis goes through.

The hardest scene to watch is a part where Travis picks up a deranged passenger played by Martin Scorsese himself. A film like this is special when it can achieve those kind of emotions from a viewer. The emotional pain is a lot harder to watch than the extreme violence that occurs in this film.

That's not to say that the violence is easy to watch because it isn't at all. It is sickeningly abrasive and nightmarish, yet strangely enchanting. The blood looks very much like red paint, with a slightly light tone to it that makes it looks somewhat pretty when splattered on the wall.. It is all the more so in that the film forces us to view this and shoves our faces in it while trying it's best to spare us from the emotional pain.

This is one of Scorsese's finest and most complete films. It is a powerful and polarizing work of art. It is among one of the most emotional and suspenseful films I can say that I've seen and it's one that you'll definitely remember!
Look past the Acting
To those who can't figure out the base of this movie; You need to pay attention to the "deep story line" as I call it.

Travis has a whole bunch of issues, and it seems like little time to solve them.

In my opinion his time in Vietnam is the culprit. Focus on that. He does his time,and with no time to collect his thoughts he's back in the U.S. and dumped at the 7-11. 99 per cent of the time this was the outcome for Vietnam Vets. One day war ,the next day 7-11. No de-briefing.

I believe this was Travis' problem.HE WAS STILL IN Vietnam. Think about it. It took the finally to correct him.
A Legend of it's own!!
Martin Scorsese's cult favorite 'Taxi Driver' has it's own class, it has it's own aura, it has it's place. Like mentioned from this writer's headline, a motion picture which is a Legend of it's own! Suprsingly, Scorsese won the Academy Award for Best Director 30 years after 'Taxi Driver' released. Now, that's injustice! De Niro didn't win the Academy Award for Best Actor for his work in here either? 'Taxi Driver' is a milestone, no praise can justify it's talent & respect.

This is a story of lonely man, 'be aware', it doesn't cater to any age group, it's for them who understand Cinema & understand the depth of 'Taxi Driver', this is not an entertainer, it's like a haunting tune.

Scorsese's direction "O My God', so so amazing. Paul Schrader's writing, flawless. Performances, De Niro is a legend, an astounding performance. Foster has been pretty since then, her performance, simply superb. Harvey Keitel, another fine performance. Others are apt.

'Taxi Driver' is a film that belongs to people like me, who understand talent & repay them respect for their body of work, which is "legendary' is every department.
"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. 📀