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Purchase Taxi Driver (1976) Movie Online and Download - Martin Scorsese 🎥
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.
Type Resolution File Size Codec Bitrate Format
1080p 1920x1080 px 21495 Mb h264 192 Kbps mkv Purchase
DVD-rip 608x336 px 703 Mb mpeg4 714 Kbps avi Purchase
Reviews
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.
2004-11-25
Classic Deniro at his best!
'Taxi Driver' remains one of the most fascinating and intriguing movies ever made in the history of cinema.

Critics have stated it to be Scorsese's best and perhaps it's one of the most quoted films. Paul Schrader's riveting screenplay is very detailed and layered. It's very much based on his own experience which is probably why it's so rich in atmosphere and depth and obviously, not to forget, the memorable lines. Scorsese does a commendable job bringing it to screen. Aweseome director that he is, he puts it all together wonderfully. The fluid narration, the haunting score (comprised mostly of some fantastic saxophone pieces), the brilliant lighting, solid cinematography etc work together effectively. Moreover, Scorsese definitely captures the rawness and stark reality of the harsh street life that Bickle witnesses every night. Robert De Niro delivers one of his most memorable performances as Travis Bickle. His understated portrayal of the title character is still a much talked about discussion. While this is clearly De Niro's film, he is aptly supported by a stunning Cybill Shepherd, Albert Brooks, Peter Boyle and Jodie Foster.
2012-03-21
Utterly Amazing film and is unquestionably one of the greatest films ever made in my opinion WARNING!!!!!! SPOILERS!!!!!!
Utterly Amazing film and is unquestionably one of the greatest films ever made in my opinion Robert Deniro is one of the best actors of all time and his performance here is spellbinding (but more on that later). This film has incredible direction by Martin Scorsee and amazing performances all around. beware the finale is not for the faint of heart for casual viewers as it was incredibly graphic for it's time kinda tame now still very graphic indeed we get a very graphic gunshot to the head with blood and brains splattering on the wall a knife in the hand and arm blood everywhere in the finale and a few more graphic bloody gunshot wounds. For some reason i felt a little uneasy while watching this film but in a good way i was deeply disturbed by some of the scenes SPOILERS!! watching DeNiro fiddle around with those guns made me feel uneasy. The Acting is no doubt Oscar Worthy Robert Deniro is quite simply one of the best actors there ever was and ever will be (sorry to get off subject here when i say Arnold Schwarzenegger is my favorite actor i mean he's the most fun to watch not the best as far as acting goes in fact he's not really that great of an actor he is just a fun guy to watch. just wanted to let people know that Now Deniro is no doubt my favorite as far as acting is concerned and his performance here is simply amazing astounding words can't describe it he had me squirming in my seat with a sense uneasiness always he deserved to win That Oscar by far YOU RULE BOBBY!!!!!. Cybill Sheppard is beautiful and does great here wish she had more screen time though. Peter Boyle is also good here in his very limited screen time. Jodie Foster is an amazing actress and she took on a tough role here and did a wonderful job!. Harvey Keitel is the man and he cracked me up and looked funny with long hair (or was that a wig). Overall this is unquestionably one of the greatest movies ever made SEE THIS THIS INSTANT!!! ***** out of 5
2004-10-28
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.
2009-03-29
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
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
Taxi Driver: Scorsese´s final seduction ...
"Taxi Driver" is in a way one of the most timeless movies ever, inspired by "The Searchers" directed by John Ford. The acting, the music, the direction, the script and the editing are all close to perfect. If you want to see a film by Martin Scorsese, see "Taxi Driver" first - it will always will be his most interesting feature.

Even if just a couple of movies have the right to be called Classics, "Taxi Driver" must be one of them.

Robert De Niro is a fine actor and this is his best performance up to date. It is perhaps only "Taxi Driver" that has convinced me that Martin Scorsese is a great director and that Robert De Niro has a huge capacity as an actor. I think that the other things that I have seen by this couple is not even close to "Taxi Driver".

Martin Scorsese´s masterpiece has turned to be one of the most referenced modern movies ever. "Taxi Driver" is not pathetic, but still it gives the viewer such strong emotions from start to end, simply because of the strong job by Scorsese (and his team) that he surely won't surpass.

Rating: 10 of 10.
2003-06-18
Why This Film is a Classic is a Profound Mystery
Martin Scorsese is one of those directors whose work I just don't seem to get. His films are not totally inaccessible, like most of the work of Stanley Kubrick, but sitting through a Scorsese production is often an exercise that pendulums back and forth between crashing boredom and utter incomprehensibility.

Of course, everyone knows by now that TAXI DRIVER is about isolation. Specifically the isolation of one man in the midst of a bustling city. Travis Bickle (Robert De Niro), a Viet Nam veteran, applies for a job driving a taxi in New York on the graveyard shift; the reason he gives for wanting the job is that he does not sleep at night. That anyone would hire him to actually drive a vehicle under those conditions seems odd, but then everything about Bickle is odd. Clearly he suffers from a profound sense of isolation, but most of that is of his own making, since when it comes to social interaction this guy is so clueless that he makes burnout Reverend Jim from the television show "Taxi" seem like Albert Einstein by comparison.

Travis finds himself attracted to Betsy, a woman working on the presidential campaign of a politician (Cybill Shepherd, proving yet again that she cannot act her way out of a cream puff factory), and he has sufficient social skills to get her to agree to a movie date. Then he takes her to a XXX porn film. Of course she cannot get out of there fast enough, and he is totally bewildered; in his mind it was a perfect date movie.

A good deal of the story is told via Travis's inner thoughts, spoken by De Niro on the soundtrack. This device was old even in 1976, and there is too much of it; the audience is already alienated from this man, and having his thoughts overdubbed places him even farther from anything remotely approaching understanding.

Possibly the best scenes in the movie are the ones with Jodie Foster as Iris, a twelve-year-old prostitute whom Travis attempts to rescue from what he sees as a sordid life. Iris is possibly the most interesting person in the film; Foster plays her as a girl walking a tightrope between what she has to do to survive and the necessity to avoid danger; she is receptive to Travis at first, but even a twelve-year-old can see that this guy is not playing with a full deck. And at least she breathes some life into an unbearably tedious movie.

Which brings us to De Niro. He's good here, but he's much better elsewhere; watching him I had the impression that Scorsese went to one of two extremes: either he gave the actor no direction at all and let him do as he pleased, or he micromanaged every nuance of the character and in the process sucked the life out of it. Whatever, the result is a stilted and peculiar bit of acting that seems beneath a major talent like De Niro. Yes, we get Travis's isolation, but we never know what caused it, or why he is just so damn WEIRD.

And of course, as is Scorsese's habit, all of this is presented under the guise of "gritty reality" (think GOODFELLAS and RAGING BULL, both of which ram "gritty reality" down the viewer's throat until the urge to run screaming from the theater is almost overwhelming).

I am a native of New York City; I was born there and lived there until I was forty-two. Martin Scorsese is also a native of the City, but I do not recognize the picture of NYC he paints in this film at all. The simple answer is that we are seeing the City through Travis Bickle's eyes, but while he describes what he sees, we never find out WHY he sees things the way he does; it is perhaps the most frustrating aspect of a very frustrating film.

Great film? Depends on which critic you ask. The late Roger Ebert loved it. Leonard Maltin thinks it's awful. I suspect that, like most of Scorsese's oeuvre, this is one of those movies you either love or you hate. Well, I didn't exactly HATE it, but most of it is insufferably boring. De Niro presents us with a wacko character but fails to provide a provenance for his behavior. About the only good thing I can say about Cybill Shepherd is that her role is brief; she's absolutely PAINFUL to watch. It is only Jodie Foster, all of twelve years old yet wearing an ancient expression in her eyes that tells the story of where this girl has been, that draws and holds the audience's attention; honestly, without Foster the film would have no life at all.

And possibly the worst of it is that Bickle's increasing descent into violence is left totally unexplained. It would be easy to assume that it was his Viet Nam service that unhinged him, but the movie does not play that way and at any rate if that were the case it would have been an easy matter to communicate it. To put it in five short words, this film is a mess.
2013-06-18
Martin Scorsese's masterpiece.
It's a beautiful and violent story that talk about a lonely man, Travis Bickle,and the city where he lives in.Driving by night, the protagonist meets the strangest people in the world. He hates New York because he think it's a dirty city with bad people. But at the end of the film he saves a 12 years old prostitute and kill her pimps, so he becomes a hero. The story, that is written by Paul Schrader, is full of violence, and bad words but at the same time it is also sad and a bit romantic. Robert De Niro is fantastic and Bernard Herrmann's music is good too. Taxi driver is one of the most beautiful films in the history of the cinema.
2005-01-01
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