🎦 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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Still don't get it?
Just forced myself to watch this film again for the third time thinking maybe I had some Natural Born Killer prejudice against this movie, which I kicked, but after painfully sitting through this thing again for the last time all I can say is I'm tired, depressed, and befuddled at the high praise for this darkly disturbing film. Or maybe that's the alure for some people. If you look at the votes for this thing people either love it or hate it. I'm mostly indifferent. The problem I have with Taxi Driver is that there are too many unanswered questions about Travis' background, experience in the Marine Corp, etc. We know he was discharged while Vietnam was winding down but we don't have a clue what the source of his "instability" is! Are we to assume that he had suffered some sort of trauma during the war...did he ever see any action...was he really discharged because of his instability? In fact, the guy seems perfectly normal other than a slightly obsessive compulsive complex which 70% of society is sporting, and he can't sleep. Awwww, poor thing. Well neither can I, and a lot of people can't sleep at nights. Does that alone make Travis a candidate for the nuthouse? Nope. The truth is, we don't know what his problems stem from and that is a major problem with this movie. His descent is so spontaneous when Betsy reacts about being dragged to an adult film, and he just snaps, we don't know why?!? (spoiler alert) Next thing you know the guy is buying guns like there's no tomorrow to feed his all-of-a-sudden John Wayne complex that springs from a source we can't as an audience connect with. Good performances overall don't salvage the many holes that litter the canvas of this highly overrated drama. And somebody please explain to me all this talk about Travis searching for "redemption", from WHAT>?>? Jeez! The final shootout is a little too reminiscent of the Wild Bunch where spurting blood and bad editing wooed critics all around. Amazing. 6/10
A Descent Into Madness
"Taxi Driver," starts off with a beautiful and perfectly fitting score from composer, Bernard Hermann, as we see the blurred city of New York as the fast paced lights from cars and signs are distorted and put into slow motion. "Taxi Driver" is one of Martin Scorsese' finest achievements as he teams up with Robert De Niro. Travis Bickle (De Niro) is the title character and this film really is all about the performance of Robert De Niro. The acting as a whole is exceptional. Harvey Keitel has an extremely small part as a pimp named Sport, and he brings a forgettable character to center stage as he and Travis have some quick and excellent scenes together. Keitel is so good in this you wish you would get to see more from his character. Jodie Foster plays the prostitute under Sports rule. Iris, is 12 years old, and for a 14 year old actress (at the time), Foster deals with some heavy and extremely adult material and handles it very well. Keitel and Foster have a scene together where Sport holds her and slowly dances with her as he whispers into her ear about how lucky he is to have a woman like her. It's an utterly repulsive scene. The look on his face mixed with the calm and safe look on the face of Iris, is pretty terrifying. It's extremely well acted even though it's a pretty quick and minor scene. In this one scene we see the type of control Sport has over the young, impressionable child that he abuses and takes advantage of. These are the kinds of things that sets Travis Bickle off. The film is a classic that dissects the fallout of one mans loneliness and his thirst for acceptance, recognition, and notice. The editing is very good, the direction is great, but it's carried by a magnificent script from Paul Schrader and a great lead performance. This probably stands as De Niro' second best work to "Raging Bull," and among the finest acting performances of all time.

Travis Bickle is the self proclaimed, "God's lonely man." Bickle walks amongst the people on the filthy, crowded streets of New York City. Wherever he goes, he goes unnoticed; like a ghost meandering through life's morbid boredom of repetitiveness as each day endlessly runs into the next. Bickle suffers from an inability to sleep so he goes to the porno theaters after 12 hour shifts and still can't sleep. His mind is constantly racing as he takes various forms of pills and abuses alcohol. The former Vietnam Veteran has a damaged psyche that continues to get worse and worse as the disgust for the lowlifes of New York eat away at his consciences. The first act of the films starts with a normal looking man, with a regular hair cut and regular job in an irregular city. We watch Bickle go through everyday routines and his work habit is the main focus to derive attention away from his bloodlust. We don't see much wrong with him other than some signs of frustration. He decides that his body needs some fine tuning as he reverts back to his days as a Marine and trains for battle. He meets up with a gun dealer and buys three pistols and a .44 magnum. He's ready for war as the table is set. There are some classic scenes throughout the course of Bickle' decent into madness that make the film so special.

The ending of the film is controversial for its vagueness and its inability to state a clear purpose of reality or fantasy. It's open to interpretation, but my understanding of the film is that it ends in reality, but I can see how one would think it ends in fantasy or is Bickle's dying dream. The film even hints towards a dream like state as we watch with a long running overhead shot (possibly signifying Bickle's departure from the world?) with motionless police officers. Then there's the music of a dream inducing state at the end of the scene, which is the strongest hint towards a dream like state. What we do know is that Travis Bickle takes the lives of lowlifes, degenerates, and the scum of the earth. He's treated as the hero and glorified by the media for his actions. This is a slap in the face to the media for finding that a vigilante did the right thing because it was for a good cause: Kill 5 scumbags, save 1. The final scene of the film is also controversial. We see Betsy for the first time since their big fight and she's no longer disgusted with Travis. Now the media has changed her opinion of him too. Travis has reverted back to the same look he spouted in the first act of the film. He's quite, reserved, and humble. He looks harmless. As the ride home goes along we find out that Palantine has won the nomination. After, Travis drops Betsy off, he leaves without taking her money and with a smile on his face he gives her a simple, "So long." You get the feeling that he's still not over the fact that she wouldn't talk to him and you also get the feeling that he sees her as just like everyone else. As Travis drives off, he menacingly looks back into the mirror, representing a problem still exists, then we fade back to the start of the film. With the symbolic scenes throughout the film depicting Bickle' brooding, boiling, rage within, this symbolizes the fact that nothing has changed. The near death experience doesn't cure him. The accolades from the media and the recognition from everyday people doesn't make it any better. He's still ready for war and his next target may very well be the botched assassination attempt on the new nominee, Senator Palantine, in just 17 days.
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.
Powerful but flawed
To fairly review a movie from the 1970's, one must separate elements of that often ridiculed decade, such as fashion, hairstyles, technology, and jargon, from the story and the performances. S/he can't allow the plaid pants; broad-collared shirts; contrived sounding street talk; over-the-ears, less than natural, post-hippie era hair; or even the absence of I-pods and cell phones to keep him/her from directing his/her judgments only at the believability of the movie's plot and the acting.

So... keeping the popular culture of that time in perspective, I think Taxi Driver deserves high marks in part because it helped to make people aware that a soldier usually returns from war (Viet Nam or any other) troubled, not simply relieved that he is no longer experiencing horror and motivated to transfer his work ethic to the home front. The movie reveals, too, that a veteran may not have caring parents and friends and a comfortable home to ease his transition (though the difference between the memories of explosions and screams and the calm of an office or store creates its own special stress); he may have to find his way alone.

Taxi Driver succeeds, too, because of the acting. Robert De Niro, Cybill Shepherd, Jody Foster, Peter Boyle, and Harvey Keitel perform convincingly as the victims, degenerates, and survivors of a depraved New York City subculture. Only the FBI agents come across as a little typed.

Taxi Driver doesn't score high in all areas, however. While the cast impresses, this starkly realistic story actually lacks in realism. In the climatic scene When Travis (Robert De Niro) rescues Iris (Jody Foster), by gunning down the miscreants who exploit her, he has carried out a rehearsed plan (he had purchased several firearms) motivated by an overpowering and unrelated rage as much as he has valiantly acted on his concern for this once innocent girl. The writers, as they should, make Sport (Harvey Keitel) and his buddies look like low-lifes, but when these men rebound growling and screaming from 38-caliber pistol blasts from point blank range they behave like zombies, not humans.

During the outcome phase the less-than-likely events continue. Newspaper recognition of Travis Bickle's act seems plenty appropriate, but a police officer, FBI agent, or common citizen would have probably seen and commented on the similarity between the man in the newspaper photo and the mohawked character who drew attention to himself when he conspicuously fled the plaza where he had considered -- he pulled out a gun for many to see -- killing a senatorial candidate as he spoke to an audience of 500+.

And not long after the newspaper makes the public aware of Bickle's courageous deed, he receives a letter from Iris's parents thanking him for saving their daughter. Like the newspaper story aspects of the letter rate it low on the probability scale. I can understand that such a letter would include the parents' gratitude and feelings of indebtedness toward the person who made possible the girl's return home. I don't accept, though, that the parents would also tell of their daughter's successful readjustment to her school routine and renewal of friendships. After the abuse that Iris weathered and the violence that she witnessed, she would suffer post traumatic stress that would rival that of the Viet Nam veteran's.
one of these days i'm gonna get organiz-ized
i can't believe i waited this long to finally watch this classic.this is one brilliant film.De Niro is excellent as the title character AKA Travis Bickel.Martin Scorsese directed this masterpiece.i don't wanna to oversell this film,but it's something else.i'm not gonna give any of the plot away,because i think any way who goes into this should view it without any preconceived notions.DE Niro is brilliant here,that much i'll say.i also loved the look of the film,the style,the colours.it's currently #39 on the top 250 here on this site,but i'd probably even rate it higher than that.if you haven't seen it,i would highly recommend it.for me,Taxi Driver is a 10/10
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.
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.
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!
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 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…
📹 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. 📀