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Purchase Taxi Driver (1976) Movie Online and Download - Martin Scorsese 🎥
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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"Are you talking to me?"
This movie is Scorsese's masterpiece; it is a realistic portrayal of one mans reaction to seeing the very extreme nightlife of New York: pushers, psychos, whores, the list goes on. After seeing the movie 4-5 times, I still have to admit, there are some scenes which I don't fully understand, but I can still somewhat appreciate them. Robert DeNiro's acting is superb, as is Cybill Shepherds, and Jodie Fosters. All of them play their respective character convincingly. All of the minor characters are also interesting; most of them are either a psycho, racist or just plain despicable, in some way or another. The transformation that DeNiro's character undertakes, from being a nice, gentle guy, to being a gun-toting self-help psycho, is amazing. It's got some slow scenes, but overall, I recommend this to anyone who likes a psychological drama, or any hardcore DeNiro fan. 8/10.
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.

We are the Taxi Drivers
We are the taxi drivers. We let people in our hearts and minds. Some turn out to be rotten some inspire us. Either way they affect our thoughts and perceptions.

Robert De Niro's created an unforgettable image of a taxi driver that longs to find the meaning of his life. No matter if it's a well mannered lady, under age prostitute, stranger willing to kill his own wife, or a presidential candidate. All these people come and go to the life of the taxi driver who is willing to change the system no matter what. Although he himself needs a cure he takes a bold step to become the cure for a young innocent child.
The Ultimate Cowboy movie
Travis is a nowhere man, an angel with a clear conscience. He feels that the city is a very dirty place and could do with a thorough cleaning up, flushing all the thrash down the toilet. He feels nauseated and can't sleep at night. He wants to do what is right, he wants to do his part. He wants to help others that seem to carry the same impulse but are trapped victims of a modern age throwing its energy in the wrong directions. there is an echoing in this film that makes it clear that you are not the job you are employed to do. Here is a man who stands up and says 'NO' to all the bullshit. Here is......Here is a one man revolution crescendo. He feels he is on a mission. He feels that one must not dedicate his life to morbid self attention. A man waiting for a change, suddenly there is change, he makes it. Many will agree with me that this film is one tight masterpiece. Great chemistry between Director Martin Scorcese and actor Robert De Niro who after this film remained famous until now for his tough quote in the film "You talking to me? Are You Talking to me?........" Great script, great direction of photography, great cast and acting, great soundtrack, all very tightly fixed together. Superb direction! In my opinion this is definitely and almost undiscussably Scorcese's greatest of his greatest piece of work. I love how a secretary working in a voting office for a political candidate with another clerk parallels with the relationship between a sedated hooker and her pimps to say the least. This is the stuff that makes Travis feel all the more and more sick and he realizes it. He must do something, he sees these women as angels, good people like himself and he does not want the scum to touch them. As great as the crescendo is in this film, so is the dissolving, the relief at the end parallel to a fizz in his drink earlier in the film, a detail many fail to notice. Every detail has parallels in this film that are very necessary. However, whether you watch this film under a microscope like i did more than once or twice or simply at face value, as a film lover one would not fail to recognize even through its sheer feeling of suspense, that this is a great classic quality movie. Film making at its best. The ultimate cowboy movie. Very unconventional.
I did not like this movie and I will be happy if I never see it again. The ONLY bright spot was Travis saving the 12 year old prostitute and sending her back home to her parents but I have to say I found the rest of the movie very confusing. For example, for a man who thought the city was full of immorality and degenerates why did he think it was all right to spent his free time in X Rated theaters? And what made him think it was OK to take a girl he just met to a porn film? Also, what possessed him to cut his hair into a mohawk and why did it appear that he was going to kill the nominee for president when he ended up killing Iris's pimp? The only answers I was able to come up with was as a former Marine, he needed to validate himself once he re-entered society. Since the secret service were onto him he went for the next best thing and managed to save a young girl in the process. Thank God all that porn didn't cloud the inappropriateness of a 12 year old turning tricks!
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
Scorsese's Best
Acclaimed director Martin Scorsese and legendary actor Robert DeNiro have made a hard, disturbing, isolating, gritty movie masterpiece. This is a fantastic piece of cinema.

DeNiro plays Travis Bickle, a Vietnam war veteran who has now become a taxi driver is a unstable, lonely man. As different series of events unfold he becomes more unstable and has the urge to lash out at a society that has gone down the sewer.

Taxi Driver is a superb piece of cinema. Every actor acts with passion so we believe them. In particular a young Jodie Foster stands out as child prostitute Iris, who is befriended by Travis. She delivers a great, heart-wrenching performance. We really feel for her character and all that she has gone through. Harvey Keitel does a great job as the PIMP Sonny. The audience doesn't like him one bit and that's thanks to Keitels great performance.

DeNiro delivers a truly great performance. Even though Travis is a lonely, violent, unstable cabbie we do feel sympathy for him and we almost cheer him on.

Scorsese has done a fabulous job of directing and the score by Bernard Herrmann is absolutely terrific. The dialogue is great and thought provoking and the cinematography is brilliant. The final scene at the brothel is very disturbing and violent but it's a scene that sticks with us and really is well done.

This was nominated for a Best Picture Oscar but sadly didn't win. This movie will go down in history as one of the greatest films made.

"Someday a real rain will come" (spoilers)
It's always a bit worrying when someone tells you that they deeply identify with Travis Bickle. What, so you enjoy taking women to porno films, have a gun fetish and enjoy befriending 12-year-old prostitutes? If you say so, mate.

But seriously, although it's a bit disturbing when people tell you they agree wholeheartedly with Travis Bickle's outlook on life ("someday a real rain will come"), I'm sure most people can relate to him to a certain extent. The loneliness is certainly something that most people have felt at some time. And really, even though you're surrounded by millions of people, large cities can be the loneliest places on the planet. Everywhere you go you see people making connections while you can only peer at them from the outside.

This is certainly the case for Travis. He's a perpetual outsider. He just doesn't fit in anywhere. Just take the scenes with his fellow cabbies. Here are his work colleagues, people who go through the same crap as him, and yet he has nothing to say to them. They can't understand him and vice versa. But despite this he does try and reach out. He tries to tell one of his colleagues the crazy thoughts that are going through his head. But just as you feel he's going to reveal himself, he has to swallow some of the stupidest advice that's ever been put forward. A chance to make a connection has been lost. And yet, even though this cabbie spouts random nonsense, one thing he says has a ring of truth. He tells Travis he should get laid.

And that's what Travis really needs. He desperately needs a shag. He needs a proper release. But while Travis does try and meet someone, he goes about it in the wrong way. In one excruciating scene he tries to pick up a woman at a porno theatre. Yeah, that's going to work. A woman who's working in a porno theatre is really going to want to date one of the jerk-offs she has to serve.

And then of course there's the scene where he takes Betsy to see a movie. Fair play to Travis, though, he does ask this attractive woman out on a date and does a decent enough job of holding a conversation with her (although he's rather intense and insults one of her work colleagues), but just when things may be going right, when he may have a chance to ease his crippling loneliness, he decides to take her to see something from his favourite genre – porn. Even though Travis is desperately trying to reach out to outside world he's continually reinforcing his loneliness. And when Betsy's response to this charming outing is overwhelmingly negative, and when she no longer wants to speak to him, he blames the world for his sorry situation. He's completely unable to look within himself. The problem, apparently, is with everyone else, not him.

So in light of this failed attempt to get laid, Travis reverts to a form of masturbation. I mean, all the guns he buys and all the macho posturing before the mirror is pure onanism. He's striking out against his impotence and the world that mocks him for it. And all the time when he sees sex or couples in love on TV he points his gun at them. He wants to destroy these people who have the audacity to pursue some sort of happiness.

And when you think about it, Travis' whole idiotic attempt to kill Senator Palantine is the action of a jilted lover. Here's a man that Betsy adores so therefore Travis is going to blow his brains out. But of course Travis can't even do this. Again he's impotent.

So with this act of vengeance a failure, the next best thing for Travis is to 'rescue' Iris, the 12-year-old prostitute played by Jodie Foster. I guess it's a strange kind of delusion that affects the lonely man, but they often seem to think that they're on some sort of righteous mission; that their pain and suffering is there to serve a greater good and that they'll be worshipped when they're finally understood.

And so finally Travis gets to strike out against this diseased society. He finally gets a chance to get his gun off. And he does it in the most vile, sickening way – blowing fingers off and blowing people's brains out. This is the girl's knight in shining armour. This is her hero – a man sporting a Mohawk and dripping with blood.

And so this begs the question as to whether the epilogue is some sort of pre-death fantasy on the part of Travis or whether it's a satirical swipe at the way we sometimes make heroes out of monsters. I mean, we get to hear a letter from Iris' parents where Travis is lauded as a hero. We get to see Travis with his work colleagues – now he's one of the gang. And then finally we get to see Betsy. You get the feeling that maybe she wants to apologise to Travis and give their fledgling relationship another try. But instead Travis drives off. Surely this is precisely what Travis would want to happen. He'd want to become the righteous hero, he'd want to gain acceptance from those around him and he'd want a chance to stick it to that filthy whore who didn't understand him. Surely in reality his bloodbath would be quickly forgotten. And surely, if he survived, he'd end up in jail.

But that ambiguity is one of the many things that makes Taxi Driver such an outstanding film. You're presented with one of the most unflinching depictions of loneliness and how you respond to it is up to you. Hero or villain, saint or sinner – the choice is yours.
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
Does for the people what he can't do for himself
Martin Scorsese's Taxi Driver bleeds with style and substance, and features Robert De Niro in, quite possibly, his best performance. He immerses himself in the role of Travis Bickle, an honorably discharged Vietnam Marine who is an extreme loner, basking in his sorrow, despair, and utterly melancholy woe. He gets a job as a night time cab driver that will hopefully control his insomnia, and maybe give him a purpose in life. He claims early on that while other cabbies refuse to pick up some people, like prostitutes and blacks, he doesn't care who you are. He'll get you where you want to be. If only he could do the same for himself.

Early on, Bickle falls in lust with a political campaign volunteer named Betsy (Shepherd), he has been closely watching, but not stalking. He sees Betsy is crying out for purpose and love, and doesn't feel comfortable behind a desk on the phone every day, supporting some politician who probably wouldn't do the same for her. On top of vaguely balancing a respectable relationship, near the end of the film, he tries to save Iris, played by a very young Jodie Foster, a teenager involved in explicit prostitution, treated like meat by her despicable pimp and the rest of society.

To me, Taxi Driver plays like an earlier version of the underrated Michael Douglas film Falling Down. Both films involve heartbroken loners, not only contemplating their purpose in society, but are also disgusted with the arrogance and mean-spirit that plagues the world. The blatant carelessness of the well being of other people. Both De Niro and Douglas give career worthy performances, but Douglas played more of a character going over the edge, while De Niro's character strives more on subtleties.

There has been a looming debate on the film to whether or not the character of Travis Bickle is good or evil. This debate can go on for hours, because the film provides enough evidence for both sides of the argument. One could say Travis is good because he eventually sees society as a corrupt, evil place that acts on impulse and favors arrogance over honesty, and decides to take action, and one could say that Travis is an evil character because he ignores countless instances in the world and commits crime by eliminating it. I believe he is a good protagonist, with some flaws, just like many human beings. Either way, he makes for a very interesting and intriguing character in a film.

Let's talk about the smaller additions that make the film into the work of art it is. For one, the writing, by Paul Schrader who would later work with Director Martin Scorsese on The Last Temptation of Christ and Raging Bull. Schrader's polished and commendable writing is not only sly on the themes, but definitely makes the film warrant multiple viewings. Just by seeing it once, I can tell it probably won't be my last. It seems Taxi Driver has layers that will gradually be peeled off one by one with each of the following viewings, and I can see this evolving into a film that seemed pretty upfront upon the first viewing but becoming more complex later on.

The cinematography is award-worthy. Who would've thought Scorsese's next step would be a black and white film? The colors are vibrant, as well as the atmosphere, being very seamy, expressive, but also very ominous and eerie, especially in the night shots. Some scenes even allow us to experience them in detail with classical music nicely placed in the background. Some actually take place in Bickle's cab as we cruise down the street and are met with shots of the sidewalks, evoking prostitutes, pimps, and street-walkers all with a sort of sympathy and vague understanding of their hardships. It seems Scorsese wanted to breed life into those that seem like they have none, and that's where the picture comes off as wonderful. At the time, we were rarely shown the lower-end of the food chain, and now, there is a film resting on that end, wishing it would be in a higher, more respectable position, but continues to find that wish elusive and imaginary.

Am I still coherently here, or have I lost you? Let's just end this way; Taxi Driver is a fantastic blend of urban isolation and alienation and is successful at providing humanistic characteristics to those who seemingly are void of any. The film is beautifully located even in its seamiest moments, elegantly written, and carefully directed, as Scorsese breaks new ground with this dark, very deep psychological thriller that may have you resorting to something happier afterwards. The man does it again.

Starring: Robert De Niro, Cybill Shepherd, Albert Brooks, and Harvey Keitel. Directed by: Martin Scorsese.
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