Comprehensive information and links about Taxi Driver

Taxi Driver is a 1976 American motion picture drama directed by Martin Scorsese.

It is widely considered one of the greatest American films, praised for its strong performances and gritty realism. The film also made stars out of both its lead actor, Robert De Niro, and Jodie Foster, then fourteen years old.

Bernard Herrmann, who is noted for his work with Alfred Hitchcock (especially

Travis Bickle (De NiroTaxi Driver is an alienated, sexually frustrated young man of 26 from the Midwest, who claims that he has recently been discharged from the Marines. He suffers from insomnia and consequently takes a job as taxi driver in New York City, and volunteers to work the overnight shift "anytime, anywhere". Travis spends his spare time watching pornography in seedy theaters and driving around aimlessly through the shadiest neighborhoods of Manhattan.

Travis is horrified by what he considers the moral decay around him, and when Iris (Foster), a 12½ year-old prostitute, gets in his cab one night to escape her pimp, Travis becomes obsessed with saving her despite her complete lack of interest in the idea, explaining that she was "stoned" when she tried to escape, and her pimp, Sport, is actually a kind and caring person.

Travis is also obsessed with Betsy (Shepherd), an aide for New York State Senator Palantine, who is running for the presidential nomination and is promising dramatic social change. She is initially intrigued by Travis and agrees to a date with him after he flirts with her and sympathizes with her own apparent loneliness. On the date, however, Travis takes her to a pornographic film (Kärlekens Språk), and she leaves him, disturbed.

has a number of other disturbing scenes reflecting both Travis' worsening mental condition and the seedier side of New York City. Travis purchases four handguns from an energetic black market "salesman" named Easy Andy. Another scene features an insanely heart-broken businessman in the back of Travis' cab (played by Scorsese in a last-minute substitution) explaining to Travis how he wishes to kill his wife, who is playing around with a paramour. Travis happens across a robbery at a convenience store where he is a regular customer, then shoots the would-be robber. The store clerk then proceeds to beat the robber's dead (or dying) in full view of any passersby. Travis writes a letter to his parents, claiming to be involved in "sensitive" government work; he also reports to them that he is dating Betsy. Obviously desperate, Travis tries to express his frustration to Wizard (Boyle), an older more experienced cabbie, telling Wizard "I got some bad ideas in my head" and that he feels like "doing something big"; not comprehending, Wizard tries to relate from his experience, but can ultimately only suggest that Travis should "get laid, get drunk" and not "worry so much."

The film's most famous scene may be when Travis is practicing his quick-draw technique and rehearsing a speech he'll deliver if confronted: "You talkin' to me? You talkin' to me? You talkin' to me? Then who the hell else are you talkin' to? You talkin' to me? Well, I'm the only one here."

""You talkin' to me?" Alone in his apartment, Travis postures and practices his moves in front of the mirror" "You talkin' to me?" Alone in his apartment, Travis postures and practices his moves in front of the mirror

Travis then plans to assassinate Senator Palantine at a public rally. When he is spotted by Secret Servicemen and flees, Travis desperately drives uptown and shoots Iris's pimp Sport (Keitel), before storming into the brothel and brutally killing the bouncer, the wounded Sport (who has returned), and Iris's mafioso customer.

Travis appears to be dying from a bullet wound to the neck in Iris' room, suffered in the fight, but then attempts suicide with his handgun. When this fails, and, once the police enter, Travis raises a bloody index finger to his head and pretends to shoot himself. A slow-motion overhead tracking shot moves out of the room and examines his path of violence, moving over blood stains, dead bodies, down the steps and outside to the crowd of police and curiosity seekers swarming outside.

A brief epilogue of sorts ends the film and shows Betsy climbing into Travis' cab, and commenting on his "saving" Iris and Travis' own media fame, but Travis seems to be mentally recovered now and denies himself as being any sort of hero. This curious ending has inspired some debate as to its meaning and interpretation; see below.

The climactic shoot-out was, for its era, intensely graphic, and retains much of its visceral impact today. To attain an "R" rating, Scorsese desaturated the colours, making the brightly-coloured blood less prominent. In later interviews, Scorsese commented that he was actually pleased by the colour change and he considered it an improvement over the originally filmed scene, which has been lost. However, in the special edition DVD, Michael Chapman, the film's cinematographer, regrets the decision and the fact that no print with the unmuted colours exists anymore.

Some critics expressed concern over young Jodie Foster's presence during the climactic shoot-out scene. However, in the documentary "Taxi Driver" (included in the DVD release of the movie), Foster stated that she was present during the setup and staging of the special effects used during the scene; the entire process was explained and demonstrated for her, step by step. Rather than being upset or traumatized, Foster said, she was fascinated and entertained by the behind-the-scenes preparation that went into the scene.

Regarding the film's epilogue, some have seen this epilogue as Travis' dying fantasy, while others see it as a real resolution of Travis' acts. As Betsy departs his cab, Travis drives away, and a curious ring sounds as Travis quickly adjusts his mirror, before the credit roll on the background of the bright and distorted city lights seen from the cab's perspective. Director Scorsese comments on Travis' final moments in the DVD, mentioning that this "mirror glance" could be a symbol that Travis might fall into depression and violent rage once again in the future, although it is still open to interpretation.

Roger Ebert has written of the film's ending, "There has been much discussion about the ending, in which we see newspaper clippings about Travis's 'heroism', and then Betsy gets into his cab and seems to give him admiration instead of her earlier disgust. Is this a fantasy scene? Did Travis survive the shoot-out? Are we experiencing his dying thoughts? Can the sequence be accepted as literally true? ... I am not sure there can be an answer to these questions. The end sequence plays like music, not drama: It completes the story on an emotional, not a literal, level. We end not on carnage but on redemption, which is the goal of so many of Scorsese's characters."

was a financial success and was nominated for several Academy Awards and received honors at the Cannes Film Festival. In later years, the film was ranked #47 on the American Film Institute's list of "100 Years, 100 Movies", and #22 on its "100 Years, 100 Thrills". It is consistently in the top 50 on the Internet Movie Database's list of top 250 films, and has been selected for preservation in the United States National Film Registry. Roger Ebert has added is perhaps the first film to address--however indirectly--the impact of the Vietnam War on soldiers who fought in the conflict. If we accept his word that he was a marine then it is possible that Travis is suffering from Post Traumatic Stress Disorder[1], a condition that was brought to major attention by the condition of some veterans of that conflict and later included in the DSM-III. More subtly, Travis' spartan life and choice of poorly-paid, dead-end employment is evocative of the experiences of many war veterans suffering from this condition and the perception that veterans who have a mental or physical disability are disowned and inadequately compensated by society or the government. A broader interpretation would point to the repercussions of severe solitude and alienation coupled with the propensity to blame one's inner demons on the more visible representation of what one may think is 'wrong' with society, and the paths that may lead to the eventually homicidal actions of an insane person.

The film includes a subtle reference to military operations in the US. When Travis determines to assassinate Senator Palantine, he cuts his hair into a mohawk. This detail was suggested by actor Victor Magnotta, a friend of Scorsese's who had a small role as a Secret Service agent, and who had served in Vietnam. Scorsese later noted that Magnotta had "talked about certain types of soldiers going into the jungle. They cut their hair in a certain way; looked like a mohawk ... and you knew that was a special situation, a commando kind of situation, and people gave them wide berths ... we thought it was a good idea."

was reportedly part of a delusional fantasy on the part of John Hinckley, Jr. which triggered his attempted assassination of Ronald Reagan in 1981, an act for which he was found not guilty by reason of insanity. His stated reason was that the act was an attempt to impress Jodie Foster by mimicking Travis' mohawked appearance at the Palantine rally.

Loneliness has followed me my whole life, everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man.I first saw her at Palantine Campaign headquarters at 63rd and Broadway. She was wearing a white dress. She appeared like an angel. Out of this filthy mess, she is alone.. Too much abuse has gone on for too long. From now on it'll be fifty pushups each morning. Fifty pull-ups. There will be no more pills, no more bad food... no more destroyers of my Listen, you fuckers, you screw-heads. Here is a man who would not take it anymore. A man who stood up against the scum, the cunts, the dogs, the filth, the shit. Here is a man who stood up. Here is.The only scene that doesn't feature Travis is the one between Sport and Iris talking in her room. This was added late into production. was the diary of would-be George Wallace assassin Arthur Bremer. Bremer's writings, published under the title An Assassin's Diary fascinated Schrader during a period of time when he found himself recently divorced and living in his car. Another influence Schrader acknowledges is the film starring John Wayne. In it, a war veteran comes home to find that his young niece has been kidnapped by a band of Comanche Indians. Ethan (John Wayne) embarks on a obsessive quest to bring her back, completely ignoring her own feelings on the matter. This influence is directly evident in the latter part of the film when Travis attempts to rescue Iris from Sport. Coincidentally, Sport at one point calls Travis a "cowboy" and during their final confrontation Sport's attire resembles that of a stereotyped Native American.In the original screenplay, Sport was black, as were other minor characters; Scorsese thought that this would make the film appear to be racist, and they were changed to white roles. There is still a strong undercurrent of racial tension, however; black characters are referred to as "spooks", "jungle bunnies", "niggers", and other racial pejoratives throughout the film; a mostly black neighborhood is called "Mau Mau land"; and Travis often exchanges hostile stares with black men.Brian De Palma was originally lined up to direct, but the producers were dragged to a private screening of (1973) (Robert De Niro and Martin Scorsese's previous collaboration) before they told Scorsese he could direct, but only if he got De Niro to play the lead.The actress who played Iris's friend in the film was a real prostitute that Jodie Foster studied to pick up on the character.Harvey Keitel was originally offered the part of the campaign worker, eventually played by Albert Brooks. He decided to take the role as the pimp, even though in the Rock Hudson was once considered for the role of Charles Palantine, but was unavailable due to his commitment to the TV series, "McMillan and Wife" (1971).Robert De Niro worked twelve hour days for a month driving cabs as preparation for this role. He also studied mental illness.The scene where Travis Bickle is talking to himself in the mirror was completely ad-libbed by Robert De Niro. The screenplay details just said, "Travis looks in the mirror."Harvey Keitel rehearsed with actual pimps to prepare for his role. The scene where his character and Iris dance is improvised, and is one of only two scenes in the film that don't focus on Travis.Director Martin Scorsese claims that the most important shot in the movie is when Travis is on the phone trying to get another date with Betsy. The camera moves to the side slowly and pans down the long, empty hallway next to Travis, as if to suggest that the phone conversation is too painful and pathetic to bear.Robert De Niro claimed that the final shootout scene took a particularly long time, because of both technical problems and the humor which arose from the tension created by the carnage in the scene.Due to her age Jodie Foster could not do some of the more explicit scenes. Instead her older sister Connie Foster was used as a double.Legendary composer Bernard Herrmann died on Christmas Eve of 1975, just hours after completing the recording sessions for this film. Herrmann wasn't going to write the score for the film, but agreed to do it when he saw the scene where Travis pours brandy on his corn flakes cereal.When Travis calls Betsy from a payphone to apologize for having taken her to a porno movie, he makes that call from the lobby of The Ed Sullivan Theater (1697 Broadway).The sex film Travis takes Betsy to see is Kärlekens Språk (Language of Love)(1969), a Swedish sexploitation film posing as scientific or educational documentary.Pantera's song The Badge (from The Crow soundtrack) features audio excerpts of the final scene where the shooting occurs.

Video game

In May 2005 Majesco announced that it was going to publish a video game sequel to Taxi Driver, developed by Papaya Studios. [2] In January 2006 the game was canceled due to financial problems. [3]