Taxi Driver

Ich habe zwanzig Jahre darauf gewartet, einen der berühmtesten Filme von Scorsese auf einer großen Leinwand in einer Festival-Atmosphäre sehen zu können. Es ist mir gelungen und noch dazu mit einer frisch restaurierten Kopie, die vom Restaurator selbst eingeleitet wurde. Und es ist nichts passiert. Taxi Driver ist höchstens eine hochwertige Aussage über die Zeit, den Ort und die Atmosphäre von New York in den 70er Jahren, was ihm eine historische Bedeutung verleiht (ähnliche Qualitäten habe ich vor kurzem bei Lumets Serpico hervorgehoben). Ausgezeichnet ist auch die originelle und kreative Kamera und Hermanns düstere Musik. Was das Drehbuch angeht, den Umgang mit der Hauptfigur, da ist der Film kalt, distanziert, mit zu vielen Verkürzungen und im Finale wirkt er fast karikaturistisch absurd. Als ob es sich um eine dramaturgisch nicht bewältigte Version von zusammengeschnittenen Teilen von einem kompakteren und epischeren Werk handeln würde. (07.07.2011)

"Are you talking to me?", or Robert de Niro's haunting performance as a young man sinking into loneliness, despair and disgust with the world around him. Depressing and gripping. One of my Top 10 films. (13.04.2003)

Quite shabby and very much “about nothing”. I don’t see anything exceptional about Taxi Driver. De Niro acts like in every film – almost all his roles are the same to me – and I still can’t bring myself to like Scorsese. It’s a shame, but I’ve already come to terms with the fact that the best works of these two gentlemen will never say much to me. (09.08.2009)

Taxi Driver is probably a movie that I will appreciate much later than in my twenties. It is a huge reaction to today’s society, which cannot be monitored. It is only possible to fight it, but the question is whether the fight will change the society or the person who is trying to fight against it. In this film, Robert De Niro made it clear that it is easier for him to change than for the society. With that he created an absolutely unbelievable scene towards the ending, which made me really sick. Even worse were the consequences, which could not be overlooked. Martin Scorsese shot a very good film, but I couldn’t deal with its story. And that was the biggest stumbling block. Otherwise, it’s an example of absolutely great filmmaking, which will be hard to match. (10.06.2014)

It's fascinating how many people (far from just here) are adamant that this film really does have a happy ending. And yet, it couldn't have been made any clearer. (10.04.2011)

The dollar may have had significantly more power in the mid-70s than it does today, but the fact remains that the movie only cost a mere 1.9 million, which is unbelievable. Nevertheless, money for the project was hard to come by, and it took a long 3 years for Scorsese and De Niro to make it happen. The screenwriter used a real-life successful assassination attempt on presidential candidate George Wallace in 1972. However, the film is not a crime story in the ordinary sense; rather, it is a psychological drama about a Vietnam War veteran who cannot readjust to society upon his return home. Gradually, he becomes the opposite of Jack, the founder of the Fight Club in Fincher's famous film. Jack embodied the dissatisfaction of the radical urban intellectual left and the idea of an anarchist rebellion against the system. On the other hand, Travis is closer to the positions of the radical right; he watches with concern and increasing contempt as life unfolds in a decadent metropolis full of loose sexual morality, crime, and existential insecurity. Both anti-heroes share not only chronic insomnia but also a protest against the world they want to rid of falsehoods. If Travis had carried out his plan to the end, he would have been seen as the archetype villain by the public. However, Scorsese allows his character to live on and even makes him famous in the eyes of the public. Ironically, he thus caricatures the double morality of bourgeois society. Travis' multiple murder of members of the urban gallery turns him not into a terrorist but into a courageous fighter against the underworld. Even members of the liberal urban elite are not spared. The activist Betsy represents the epitome of a snob, and presidential candidate Palantine is a typical example of a professional chatterbox who speaks in vague phrases. Scorsese benefited greatly from not taking a clear activist stance. During its creation, Taxi Driver sparked numerous controversies and passions. In a few years, it became a cult film, and rightly so, unlike many other works. It has definitely not aged; the character of Travis Bickle still unsettles viewers to this day. From my perspective, it is Robert De Niro's most significant role. A bonus for today's viewers is the fact that the supporting actors grew into first-class stars over the following decades. Overall impression: 95%. (02.03.2016)

Suggestive, rough. Robert De Niro and another riveting performance. A film that makes you think about the things around you. (26.07.2004)

Nach Wie ein wilder Stier und Goodfellas ist dies der drittbeste Film, in dem Scorsese und De Niro zusammenarbeiten. Von allen Genannten hat er jedoch unübertroffen die beste Musik – Hermann hat seine Karriere göttlich beendet. Wie er einige Töne nicht nur in den Kulissen, in denen sich die Handlung abspielt, sondern auch in der geistigen Zerrissenheit der Hauptfigur einfängt … Das ist beeindruckend. Man schaut sich den Vorspann an (welchem Richard Donner in Gibsons Kopfgeld übrigens Tribut zollt) und ist sich sicher – das WIRD WAS. Und das ist es. (19.09.2007)

Scorsese's first major league feature and still one of his most famous. Once again, the master does what he does best, immersing the protagonist chin-deep in the seedy, prostitute- and small-time gangster-infested corners of New York, where no ethical laws apply. As always, the excellent De Niro is amazing in his role and his slow inner transformation is one of the best things of Taxi Driver and enhances its story. Scorsese manipulates the viewer very skilfully, for an hour and a half he just prepares them as they try to identify with the main character, which is very essential towards the final minutes and crucial for the overall impression. The atmosphere is also greatly enhanced by Herrmann's excellent and mysterious music, whose tones are heard at almost every turn. It's just a pity that the narrative wasn't given a smoother and rawer tone, because the bloody finale seems a bit contrasting and absurd in relation to the story as a whole. Taxi Driver is another impressive film from a directing legend, but I'll probably just pass on it again. 80% (08.02.2013)

There was a chance that his fate could have ended well, but Betsy (truly beautiful Cybill Shepherd) should not have blown him off after one date, which he didn't handle organizationally well. The next hope could be the fourteen-year-old prostitute Iris (Jodie Foster, who really was 14), but can she truly save him? Is he capable of acting in a way that will help people? The ending is a fairly expected escalation of events, which only feeds into the great development that the character Travis Bickle has. His life has completely changed, but not here in New York, it changed over there, in Vietnam, New York just showed him that it's not really that different, that it doesn't really make much sense to fight for something so repulsive. Nonetheless, the film still gives us some hope in the end. This is Scorsese's only turning towards hope, towards a higher justice. However, this time he basically completely avoided religious themes and presented us with the fate of one man who will really shake you up. Violence is portrayed here so naturally that you will really think twice about visiting nighttime New York if you ever have the chance. (29.10.2013)

I wouldn't be afraid to call those moments in which Robert De Niro drives through New York City at night as a taxi driver something magical. I've known about this movie for a long time, of course, but with such an iconic thing it's almost mandatory to see it on a proper screen with proper sound, so I just waited. The magic is in the sensual atmospherics, the excellent cinematography, and the perfectly fitting Herrmann soundtrack. Plus, the way Martin Scorsese "manages" it all is fantastic – there are a thousand other movies being made in New York, but Taxi Driver captures the Big Apple vibe in just the right way. All the nooks and crannies, the dirty streets, the creatures you would prefer never to meet, and the contrast with its pomposity – the beautiful buildings, the charming lights, just the spirit of the big city with all that goes with it. I don't think it's a film with extraordinary overtones or even deep philosophical undertones.) The whole film can be summed up as a dirty, gritty, and unadorned portrait of New York, one of the many excellent collaborations of the Scorsese-De Niro duo. (03.09.2011)

Legendary American director Martin Scorsese has always had a flair for strong themes and great actors, which he proved with this disturbing crime drama in which the utterly inscrutable Robert De Niro as the frustrated loner Travis navigates the dirty streets of New York in a taxi. Absolutely disgusted with abominable social conditions, he finally decides to take justice into his own hands. The young Jodie Foster as the prostitute Iris gives an emotionally convincing performance here, suggesting that she will one day be a star of the first magnitude. (85%) (09.01.2023)