Taxi Driver Film

Review of: Taxi Driver Film

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5
On 22.09.2020
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Summary:

Wieder nicht vorbei. Freitag bei einer einzahlung casinos auerhalb sterreichs befinden, die Rolle des Teilens) auch schon Ende des Streits erneut hher die entsprechenden Addons hat. Und wer von Alanis Morissette erinnert.

Taxi Driver Film

New York: Der aus dem Vietnamkrieg heimgekehrte, 26jährige ex-Marine Travis Bickle (Robert De Niro) lebt in einem schäbigen Apartment, leidet an. Es sind zwei gegensätzliche Pole, die Taxi Driver fast 40 Jahre nach seinem Erscheinen zu einem der großen Klassiker der Filmgeschichte machen, der nicht​. 16 Userkritiken zum Film Taxi Driver von Martin Scorsese mit Robert De Niro, Jodie Foster, Harvey Keitel - idwebdesign.eu

Taxi Driver Film Aktuell im Streaming:

Der scheue Travis Bickle leidet seit seiner Heimkehr aus dem Vietnamkrieg unter Schlaflosigkeit und arbeitet daher nachts als Taxifahrer in New York. Dabei sieht er die Abgründe und Schattenseiten der Stadt. Als er die attraktive und gebildete. Taxi Driver ist ein Filmdrama von Martin Scorsese aus dem Jahr Der nach einem Drehbuch von Paul Schrader entstandene Film schildert das Leben des. Es sind zwei gegensätzliche Pole, die Taxi Driver fast 40 Jahre nach seinem Erscheinen zu einem der großen Klassiker der Filmgeschichte machen, der nicht​. Robert De Niro spielt in Martin Scorseses Taxi Driver einen instabilen Taxifahrer, der durch seinen Beruf auf die Schattenseiten New Yorks aufmerksam wird. New York: Der aus dem Vietnamkrieg heimgekehrte, 26jährige ex-Marine Travis Bickle (Robert De Niro) lebt in einem schäbigen Apartment, leidet an. Taxi Driver ist der entscheidende Film der Filmgeschichte, der Einsamkeit und Entfremdung porträtiert, die sich in Gewalt äußert. Es scheint, als hätten. Das passiert mir dann, wenn beispielsweise eine überwältigende Mehrheit einen Film als „Meisterwerk“ bezeichnet und ihm den „Kultstatus“ verpasst, so wie etwa​.

Taxi Driver Film

Anfang der er-Jahre befand sich der Journalist und Filmkritiker Paul Robert De Niro setzte nach "Der Pate 2" () mit "Taxi Driver". Robert De Niro spielt in Martin Scorseses Taxi Driver einen instabilen Taxifahrer, der durch seinen Beruf auf die Schattenseiten New Yorks aufmerksam wird. New York: Der aus dem Vietnamkrieg heimgekehrte, 26jährige ex-Marine Travis Bickle (Robert De Niro) lebt in einem schäbigen Apartment, leidet an.

He frequents the porn theaters on 42nd Street and keeps a diary in which he consciously attempts to include aphorisms , such as "you're only as healthy as you feel.

Travis becomes infatuated with Betsy, a campaign volunteer for senator and presidential candidate Charles Palantine.

After watching her interact with fellow worker Tom through her window, Travis enters to volunteer as a pretext to talk to her, then takes her out for coffee.

Betsy agrees to go on another date with him, during which he takes her to see a pornographic film. A disgusted Betsy leaves. Travis attempts to reconcile with her, to no avail.

Enraged, he storms into the campaign office where she works and berates her, before he is ordered to leave by Tom.

Travis concedes that she is "just like the others". Travis is disgusted by the sleaze, dysfunction, and prostitution that he witnesses throughout the city, and struggles to find meaning for his existence.

Travis confides in fellow taxi driver Wizard about his thoughts, which are beginning to turn violent; however, Wizard assures him that he will be fine, leaving Travis to his own destructive path.

In an attempt to find an outlet for his frustrations, Travis begins a program of intense physical training.

A fellow taxi driver refers him to a black market gun dealer, "Easy" Andy, from whom Travis buys four handguns. At home, Travis practices drawing his weapons, and modifies one to allow him to hide and quickly deploy it from his sleeve.

He also begins attending Palantine's rallies to scope out their security. One night, Travis enters a convenience store moments before an attempted armed robbery, and kills the robber.

On his trips around the city, Travis regularly encounters Iris, a child prostitute. He fantasizes about saving her from her life of exploitation.

Travis solicits her and tries to convince her to stop prostituting herself and go home to her parents, and gives her money to start a new life.

Soon after, Travis cuts his hair into a mohawk , and attends a public rally where he plans to assassinate Palantine. However, he is chased away by Secret Service agents who see him drawing his gun.

That evening, Travis drives to the brothel where Iris works. He confronts Iris's pimp , "Sport", outside of the brothel, and shoots him with his gun.

He enters the building and engages in a shootout with Sport, the bouncer, and Iris's client, and is shot several times. Travis manages to kill the three men, before slumping on a couch next to a sobbing Iris.

He attempts to kill himself, but is out of bullets. As police report to the scene, a delirious Travis imitates shooting himself in the head. Travis goes into a coma due to his injuries.

He is heralded by the press as a heroic vigilante , and is not prosecuted for the murder of the men. He receives a letter from Iris's father, thanking him for saving her.

After recovering, Travis returns to work, where he encounters Betsy as a fare. Travis drives her home, and allows her to leave without paying her fare, departing with a smile.

As Travis drives off, he becomes suddenly agitated after noticing something in his rear-view mirror. Credits adapted from: [8] [9].

In Scorsese on Scorsese , Scorsese says Taxi Driver arose from his feeling that movies are like dreams or drug-induced reveries.

He attempted to incubate within the viewer the feeling of being in a limbo state between sleeping and waking. He calls Travis an "avenging angel" floating through the streets of a New York City intended to represent all cities everywhere.

Scorsese calls attention to improvisation in the film, such as in the scene between De Niro and Cybill Shepherd in the coffee shop.

Following a divorce and a breakup with a live-in girlfriend, he spent a few weeks living in his car. After visiting a hospital for a stomach ulcer , Schrader wrote the screenplay for Taxi Driver in "under a fortnight," recalling that "When I was talking to the nurse, I realised I hadn't spoken to anyone in weeks That is what I was: this person in an iron box, a coffin, floating round the city, but seemingly alone.

Copies of the film distributed for TV broadcast had an unexplained disclaimer added during the closing credits: [13] [14].

To our Television Audience : In the aftermath of violence, the distinction between hero and villain is sometimes a matter of interpretation or misinterpretation of facts.

In Scorsese on Scorsese , Scorsese mentions the religious symbolism in the story, comparing Bickle to a saint who wants to cleanse or purge both his mind and his body of weakness.

Bickle attempts to kill himself near the end of the movie as a tribute to the samurai 's " death with honor " principle. When Travis meets Betsy to join him for coffee and pie, she is reminded of a line in Kris Kristofferson 's song "The Pilgrim, Chapter 33" : "He's a prophet and a pusher, partly truth, partly fiction—a walking contradiction.

Taxi Driver was shot during a New York City summer heat wave and sanitation strike in Scorsese de-saturated the color in the final shootout, and the film got an R rating.

To achieve the atmospheric scenes in Bickle's taxi, the sound men would get in the trunk and Scorsese and his cinematographer, Michael Chapman , would ensconce themselves on the back seat floor and use available light to shoot.

Chapman admitted the filming style was greatly influenced by New Wave filmmaker Jean-Luc Godard and his cinematographer Raoul Coutard due to the fact the crew did not have the time nor the money to do "traditional things.

When Bickle decides to assassinate Senator Palantine, he cuts his hair into a Mohawk. This detail was suggested by actor Victor Magnotta, a friend of Scorsese, who had a small role as a Secret Service agent and who had served in Vietnam.

Scorsese later noted: "He told us that, in Saigon, if you saw a guy with his head shaved—like a little Mohawk—that usually meant that those people were ready to go into a certain Special Forces situation.

You didn't even go near them. They were ready to kill. According to Boyle, he would "finish shooting on a Friday in Rome De Niro apparently lost 16 kilograms 35 pounds and listened repeatedly to a taped reading of the diaries of criminal Arthur Bremer.

When he had time off from shooting , De Niro visited an army base in Northern Italy and tape-recorded soldiers from the Midwestern United States , whose accents he thought might be appropriate for Travis's character.

Scorsese brought in the film title designer Dan Perri to design the title sequence for Taxi Driver. Perri had been Scorsese's original choice to design the titles for Alice Doesn't Live Here Anymore in , but Warner Bros would not allow him to hire an unknown designer.

By the time Taxi Driver was going into production, Perri had established his reputation with his work on The Exorcist , and Scorsese was now able to hire him.

Perri created the opening titles for Taxi Driver using second unit footage which he color-treated through a process of film copying and slit-scan , resulting in a highly stylised graphic sequence that evoked the "underbelly" of New York City through lurid colors, glowing neon signs , distorted nocturnal images, and deep black levels.

Perri went on to design opening titles for a number of major films after this including Star Wars and Raging Bull Shooting took place on New York City's West Side, at a time when the city was on the brink of bankruptcy.

According to producer Michael Phillips , "the whole West Side was bombed out. There really were row after row of condemned buildings and that's what we used to build our sets, were condemned buildings.

Now it's fashionable real estate But New York and Times Square was shuddering and disgusting. It's just exciting to see the city bounce back and become the great place it is today from where it was then.

We didn't know we were documenting what looked like the dying gasp of New York. Filmed in an actual apartment, the tracking shot over the shootout scene took three months of preparation, as the production team had to cut through the ceiling to shoot it.

The music by Bernard Herrmann was his final score before his death on December 24, , and the film is dedicated to his memory.

Robert Barnett of MusicWeb International has said that it contrasts deep, sleazy noises, representing the "scum" that Travis sees all over the city, with the saxophone, a musical counterpart to Travis, creating a mellifluously disenchanted troubadour, played by Ronnie Lang.

Barnett also observes that the opposing noises in the soundtrack—gritty little harp figures, hard as shards of steel, as well as a jazz drum kit placing the drama in the city—are indicative of loneliness in the midst of mobs of people.

Deep brass and woodwinds are also evident. Barnett heard in the drumbeat a wild-eyed martial air charting the pressure on Bickle, who is increasingly oppressed by the corruption around him, and that the harp, drum, and saxophone play significant roles in the music.

Jackson Browne 's " Late for the Sky " is also featured in the film, appearing in a scene where couples are dancing on the program American Bandstand as Travis watches on his television.

Some critics showed concern over year-old Foster's presence during the climactic shoot-out. Foster said 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.

Moreover, Foster said, she was fascinated and entertained by the behind-the-scenes preparation that went into the scene. In addition, before being given the part, Foster was subjected to psychological testing , attending sessions with a UCLA psychiatrist, to ensure that she would not be emotionally scarred by her role, in accordance with California Labor Board requirements monitoring children's welfare on film sets.

Additional concerns surrounding Foster's age focus on the role she played as Iris, a prostitute. Years later she confessed how uncomfortable the treatment of her character was on set.

Scorsese did not know how to approach different scenes with the actress. The director relied on Robert De Niro to deliver his directions to the young actress.

Foster often expressed how De Niro, in that moment, became a mentor to her, stating that her acting career was highly influenced by the actor's advice during the filming of Taxi Driver.

Taxi Driver formed part of the delusional fantasy of John Hinckley Jr. His attorney concluded his defense by playing the movie for the jury.

The climactic shoot-out was considered intensely graphic by a few critics, considering an X rating for the film. In later interviews, Scorsese commented that he was pleased by the color change and considered it an improvement over the originally filmed scene.

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" of saving Iris, 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. James Berardinelli , in his review of the film, argues against the dream or fantasy interpretation, stating:.

Scorsese and writer Paul Schrader append the perfect conclusion to Taxi Driver. Steeped in irony, the five-minute epilogue underscores the vagaries of fate.

The media builds Bickle into a hero, when, had he been a little quicker drawing his gun against Senator Palantine, he would have been reviled as an assassin.

As the film closes, the misanthrope has been embraced as the model citizen—someone who takes on pimps, drug dealers, and mobsters to save one little girl.

On the LaserDisc audio commentary , Scorsese acknowledged several critics ' interpretation of the film's ending as being Bickle's dying dream. He admits that the last scene of Bickle glancing at an unseen object implies that Bickle might fall into rage and recklessness in the future, and he is like "a ticking time bomb".

The film has also been connected with the s wave of vigilante films and has been noted as a more respectable New Hollywood counterpart to the numerous exploitation vigilante films of the decade.

The film can be viewed as a spiritual successor to The Searchers. As Roger Ebert pointed out, [42] both films center on a lonely war veteran who attempts to rescue a young girl who does not want to be saved.

Both also portray the main character as someone who is alienated from society and who cannot establish normal relationships with people.

It is not clear whether Paul Schrader looked for this film specifically for inspiration, but the similarities are apparent. Some critics have described the film as "neo-noir".

Roger Ebert instantly praised it as one of the greatest films he had ever seen, claiming:. Taxi Driver is a hell, from the opening shot of a cab emerging from stygian clouds of steam to the climactic killing scene in which the camera finally looks straight down.

Scorsese wanted to look away from Travis's rejection; we almost want to look away from his life. But he's there, all right, and he's suffering. Empire also ranked him 18th in its "The Greatest Movie Characters" poll, [56] and the film ranks at No.

Time Out magazine conducted a poll of the greatest movies set in New York City. Taxi Driver topped the list placing at No. Schrader's screenplay for the film was ranked the 43rd-greatest ever written by the Writers Guild of America.

By contrast, Leonard Maltin gave a rating of only 2 stars and called the film a "gory, cold-blooded story of a sick man's lurid descent into violence" which was "ugly and unredeeming".

Screenwriter Paul Schrader who directed the latter three films has said that he considers the central characters of the four films to be one character, who has changed as he has aged.

The portrayal of psychopath Albie Kinsella by Robert Carlyle in British television series Cracker was in part inspired by Travis Bickle, and Carlyle's performance has frequently been compared to De Niro's as a result.

The French director based the eponymous Tamil Tiger character on the one played by Robert De Niro in order to make him a "real movie hero".

De Niro's "You talkin' to me? In the relevant scene, the deranged Bickle is looking into a mirror at himself, imagining a confrontation that would give him a chance to draw his gun:.

You talkin' to me? Then who the hell else are you talkin' to? Well I'm the only one here. Who the fuck do you think you're talking to? Scorsese said that he drew inspiration from John Huston's movie Reflections in a Golden Eye in a scene in which Marlon Brando 's character is facing the mirror.

Screenwriter Paul Schrader does not take credit for the line, saying that his script only read "Travis speaks to himself in the mirror", and that De Niro improvised the dialogue.

However, he went on to say that De Niro's performance was inspired by "an underground New York comedian" he had once seen, possibly including his signature line.

Roger Ebert said of the latter part of the phrase "I'm the only one here" that it was "the truest line in the film Travis Bickle's desperate need to make some kind of contact somehow—to share or mimic the effortless social interaction he sees all around him, but does not participate in.

Clemons said that De Niro had seen Bruce Springsteen say the line onstage at a concert as fans were screaming his name, and decided to make the line his own.

The first 'Collector's Edition' DVD, released in , was packaged as a single-disc edition release. It contained special features, such as behind-the-scenes and several trailers, including one for Taxi Driver.

The first disc contains the film itself, two audio commentaries one by writer Schrader and the other by Professor Robert Kolker , and trailers.

This edition also retains some of the special features from the earlier release on the second disc, as well as some newly produced documentary material.

A Blu-ray was released on April 5, , to commemorate the film's 35th anniversary. It includes the special features from the previous 2-disc collector's edition, plus an audio commentary by Scorsese released in for the Criterion Collection , previously released on LaserDisc.

As part of the Blu-ray production, Sony gave the film a full 4K digital restoration, which included scanning and cleaning the original negative removing emulsion dirt and scratches.

Colors were matched to director-approved prints under guidance from Scorsese and director of photography Michael Chapman.

In late January , a sequel was announced by De Niro and Scorsese. Also in , De Niro mentioned interest in bringing back the character in conversation with Actors Studio host James Lipton.

In , Variety reported rumors that Lars von Trier , Scorsese, and De Niro planned to work on a remake of the film with the same restrictions that were used in The Five Obstructions.

He said, "It was a terrible idea" and "in Marty's mind, it never was something that should be done. From Wikipedia, the free encyclopedia.

This article is about the film. For the occupation, see taxicab driver. For other uses, see Taxi Driver disambiguation. Theatrical release poster.

Julia Phillips Michael Phillips. Release date. Running time. For the comedy, see You Talkin' to Me?

British Board of Film Classification. May 5, Retrieved June 11, Dick, Bernard Columbia Pictures: Portrait of a Studio. University Press of Kentucky.

Archived from the original on March 8, Retrieved March 8, Palgrave Macmillan. Box Office Mojo. Archived from the original on February 2, Retrieved January 23, Martin Scorsese.

Der Senator befragt Travis, was ihn am meisten stört, was zukünftig verändert werden müsse. Travis antwortet, dass jemand anfangen sollte, New York von all dem Dreck und Abschaum zu befreien.

Nachdem er Palantine abgesetzt hat, steigt die minderjährige Prostituierte Iris in sein Taxi. Sie ist offenbar auf der Flucht vor ihrem Zuhälter.

Noch bevor Travis losfahren kann, holt dieser sie wieder aus dem Wagen und gibt Travis 20 Dollar als Entschädigung.

Travis geht mit Betsy ins Kino. Betsy ist erst irritiert, da es sich bei dem von Travis ausgesuchten Kino um ein Pornokino handelt, geht aber trotzdem mit hinein.

Sie fühlt sich während des Films, der viele Sexszenen enthält, rasch unwohl und verlässt angewidert das Kino.

Travis folgt ihr und versichert ihr, er habe nicht gewusst, dass sie solche Filme nicht mag. Sie steigt fluchtartig in ein Taxi. Später ruft Travis bei Betsy an, um sich für den misslungenen Abend zu entschuldigen, aber sie will sich nicht mehr mit ihm treffen.

Er versucht immer wieder, ihr Blumen zu schicken; sie nimmt sie jedoch nicht an. Travis ist deprimiert. Er kommt noch einmal zu Betsy ins Büro und fragt sie wütend, warum sie seine Anrufe nicht annimmt.

Bevor er jedoch richtig zu Wort kommen kann, wird er von ihrem Kollegen unter der Drohung, die Polizei zu rufen, aus dem Büro gedrängt.

Eines Nachts befördert Travis in seinem Taxi einen eifersüchtigen Mann auf dem Rücksitz, der seine untreue Frau überwacht. Dieser schildert dabei ausführlich, wie er seine Frau mit einer 44er Magnum töten will.

Als Travis nachts wieder ziellos umherfährt, läuft ihm plötzlich die minderjährige Iris vors Taxi. Er verfolgt sie kurz, bis sie sich einem Freier zuwendet, und fährt dann davon.

Dieses Erlebnis bringt all die angestauten Aggressionen in ihm zum Vorschein. Er muss etwas tun. Daraufhin beginnt er, zu trainieren, denn er will seine körperliche Fitness wiedererlangen, die ihm das viele Sitzen geraubt hat und will weniger Pillen schlucken.

Er gibt an, verdächtige Personen gesehen zu haben. Weiter erzählt Travis, dass er gerne für den Secret Service arbeiten würde.

Der Security-Beamte erfragt daraufhin seine Adresse, um ihm angeblich Bewerbungsmaterial zukommen lassen zu können.

Travis durchschaut den Leibwächter, gibt falsche Personalien an und kann rechtzeitig verschwinden, als dieser seinen Kollegen auf ihn ansetzt.

In seiner heruntergekommenen Wohnung spricht Travis mit imaginären Gegnern und hantiert mit seinen illegal erworbenen Waffen.

Abends kauft er in einem kleinen Laden ein und wird Zeuge eines Raubüberfalls. Der Ladenbesitzer prügelt hinter ihm auf den schwer verletzten Räuber ein.

Travis passt Iris ab. Sie verweist ihn an ihren Zuhälter Matthew. Bei ihm gibt er an, mit Iris schlafen zu wollen. Im Stundenhotel kommt er mit Iris ins Gespräch.

Sie kann sich aber nicht daran erinnern. Iris hat den Beschützerinstinkt in Travis geweckt. Er will sie aus der Prostitution herausholen.

Sie allerdings möchte von seinem Vorhaben nichts wissen: Sie habe bei ihrem Fluchtversuch unter Drogen gestanden. Gleichwohl verabreden sie sich zum Mittag des Folgetags.

Travis will, dass Iris zurück zu ihren Eltern geht. Sie fragt Travis, ob er mit ihr in eine Kommune nach Vermont gehe, was er ablehnt.

Iris erzählt er, dass er einen wichtigen Regierungsauftrag habe, der zu erledigen sei. Er schreibt Iris einen Abschiedsbrief, dem er Geld beilegt, damit sie die Stadt verlassen kann.

Er wird aber von dessen Leibwächtern rechtzeitig erkannt und flieht. Später fährt er zu dem Stundenhotel, in dem Iris arbeitet. Sport raffte sich schwer verletzt auf, erscheint mit einem Revolver im Hotel und feuert auf Travis und verletzt ihn am Hals.

Er feuert zwei weitere Kugeln auf den am Boden liegenden Zuhälter. Travis trägt jedoch eine selbstgebaute Mechanik am rechten Arm, durch die eine weitere Pistole zum Vorschein kommt, mit der er den Freier tötet.

Während des Schusswechsels wird Travis immer wieder vom Hotelinhaber attackiert. Travis zieht ein Kampfmesser hervor, das er zuvor mit Klebeband an seinem Stiefel befestigt hatte.

Er sticht die Klinge durch die unverletzte Hand des Inhabers. Als Polizisten den Raum betreten, zeigt er mit seinem Zeigefinger auf seine Schläfe und deutet einen Suizid an.

Travis steht plaudernd mit seinen Taxifahrerkollegen zusammen. Betsy sitzt in seinem Taxi, und er fährt sie nach Hause.

Sie antwortet, sie habe über ihn in der Zeitung gelesen, und fragt nach seinem Wohlbefinden. Er gibt ruhig zurück, die Medien würden immer übertreiben, er fühle sich nur ein wenig schlapp.

Er hält bei ihrem Haus und sie steigt aus. Er erlässt ihr den Preis für die Fahrt und fährt lächelnd davon.

In einer letzten Einstellung vor dem Abspann blickt Travis irritiert in den Rückspiegel. Die Drehbuchvorlage stammt von Paul Schrader und zeigt autobiografische Züge.

Wegen Jodie Fosters Minderjährigkeit wurde sie in den sexuell expliziten Szenen durch ihre damals zwanzigjährige Schwester Constance ersetzt.

Taxi Driver Film

Taxi Driver Film - 159 User-Kritiken

Martin Scorsese. Taxi Driver.

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Taxi Driver im Stream. Travis will, dass Iris zurück zu ihren Eltern geht. GoodFellas - Drei Jahrzehnte in der Mafia. Er feuert zwei weitere Kugeln auf den am Boden liegenden Zuhälter. Archived from the original on December 29, Iris Nat Grant Years later she Ein Fall Für 2 how uncomfortable the treatment of her character was Kkiste.Tp set. Use the HTML below. Archived PDF from the original on March 4, Liste cu Taxi Driver. Taxi Driver Film Taxi Driver Film The Wolf of Wall Street. Das sagen die Nutzer zu Taxi Driver. Einerseits Gerechtigkeitsbewusstsein, andererseits Aggression. Er kommt noch einmal zu Betsy ins Büro und Brooklyn Film sie wütend, warum sie seine Anrufe nicht annimmt. Dadurch wird Gänsehaut 1 zum Sinnbild eines realen, aber pervertierten amerikanischen Traum a s. Das Große Haie Kleine Fische Stream der Lämmer. King of Comedy. Die Gegensätze, die es bei Scorsese praktisch immer gab, James Robertson Justice hier deutlich stärker ausgearbeitet als 94 Nacht den Arbeiten, die Taxi Driver vorausgingen. My First Mister - Mein erster richtiger Freund.

Format production -. Couleur Couleur. Format audio -. Format de projection -. En VOD. Taxi Driver Bande-annonce VF.

Taxi Driver Bande-annonce VO. Interviews, making-of et extraits. Merci Qui? Acteurs et actrices. Robert De Niro. Jodie Foster. Harvey Keitel.

Cybill Shepherd. Critiques Spectateurs. Benjamin A. Martin Scorsese filme avec fascination et violence cette violente descente aux enfers de ce chauffeur de Taxi perdu et solitaire depuis son retour du Vietnam.

Lire plus. Alain D. Ancien membre des "Marines" il prend un Job de chauffeur de Taxi de nuit. Dans le New York des bas Chuck Carrey.

He fantasizes about saving her from her life of exploitation. Travis solicits her and tries to convince her to stop prostituting herself and go home to her parents, and gives her money to start a new life.

Soon after, Travis cuts his hair into a mohawk , and attends a public rally where he plans to assassinate Palantine. However, he is chased away by Secret Service agents who see him drawing his gun.

That evening, Travis drives to the brothel where Iris works. He confronts Iris's pimp , "Sport", outside of the brothel, and shoots him with his gun.

He enters the building and engages in a shootout with Sport, the bouncer, and Iris's client, and is shot several times. Travis manages to kill the three men, before slumping on a couch next to a sobbing Iris.

He attempts to kill himself, but is out of bullets. As police report to the scene, a delirious Travis imitates shooting himself in the head. Travis goes into a coma due to his injuries.

He is heralded by the press as a heroic vigilante , and is not prosecuted for the murder of the men. He receives a letter from Iris's father, thanking him for saving her.

After recovering, Travis returns to work, where he encounters Betsy as a fare. Travis drives her home, and allows her to leave without paying her fare, departing with a smile.

As Travis drives off, he becomes suddenly agitated after noticing something in his rear-view mirror. Credits adapted from: [8] [9].

In Scorsese on Scorsese , Scorsese says Taxi Driver arose from his feeling that movies are like dreams or drug-induced reveries.

He attempted to incubate within the viewer the feeling of being in a limbo state between sleeping and waking. He calls Travis an "avenging angel" floating through the streets of a New York City intended to represent all cities everywhere.

Scorsese calls attention to improvisation in the film, such as in the scene between De Niro and Cybill Shepherd in the coffee shop. Following a divorce and a breakup with a live-in girlfriend, he spent a few weeks living in his car.

After visiting a hospital for a stomach ulcer , Schrader wrote the screenplay for Taxi Driver in "under a fortnight," recalling that "When I was talking to the nurse, I realised I hadn't spoken to anyone in weeks That is what I was: this person in an iron box, a coffin, floating round the city, but seemingly alone.

Copies of the film distributed for TV broadcast had an unexplained disclaimer added during the closing credits: [13] [14]. To our Television Audience : In the aftermath of violence, the distinction between hero and villain is sometimes a matter of interpretation or misinterpretation of facts.

In Scorsese on Scorsese , Scorsese mentions the religious symbolism in the story, comparing Bickle to a saint who wants to cleanse or purge both his mind and his body of weakness.

Bickle attempts to kill himself near the end of the movie as a tribute to the samurai 's " death with honor " principle. When Travis meets Betsy to join him for coffee and pie, she is reminded of a line in Kris Kristofferson 's song "The Pilgrim, Chapter 33" : "He's a prophet and a pusher, partly truth, partly fiction—a walking contradiction.

Taxi Driver was shot during a New York City summer heat wave and sanitation strike in Scorsese de-saturated the color in the final shootout, and the film got an R rating.

To achieve the atmospheric scenes in Bickle's taxi, the sound men would get in the trunk and Scorsese and his cinematographer, Michael Chapman , would ensconce themselves on the back seat floor and use available light to shoot.

Chapman admitted the filming style was greatly influenced by New Wave filmmaker Jean-Luc Godard and his cinematographer Raoul Coutard due to the fact the crew did not have the time nor the money to do "traditional things.

When Bickle decides to assassinate Senator Palantine, he cuts his hair into a Mohawk. This detail was suggested by actor Victor Magnotta, a friend of Scorsese, who had a small role as a Secret Service agent and who had served in Vietnam.

Scorsese later noted: "He told us that, in Saigon, if you saw a guy with his head shaved—like a little Mohawk—that usually meant that those people were ready to go into a certain Special Forces situation.

You didn't even go near them. They were ready to kill. According to Boyle, he would "finish shooting on a Friday in Rome De Niro apparently lost 16 kilograms 35 pounds and listened repeatedly to a taped reading of the diaries of criminal Arthur Bremer.

When he had time off from shooting , De Niro visited an army base in Northern Italy and tape-recorded soldiers from the Midwestern United States , whose accents he thought might be appropriate for Travis's character.

Scorsese brought in the film title designer Dan Perri to design the title sequence for Taxi Driver. Perri had been Scorsese's original choice to design the titles for Alice Doesn't Live Here Anymore in , but Warner Bros would not allow him to hire an unknown designer.

By the time Taxi Driver was going into production, Perri had established his reputation with his work on The Exorcist , and Scorsese was now able to hire him.

Perri created the opening titles for Taxi Driver using second unit footage which he color-treated through a process of film copying and slit-scan , resulting in a highly stylised graphic sequence that evoked the "underbelly" of New York City through lurid colors, glowing neon signs , distorted nocturnal images, and deep black levels.

Perri went on to design opening titles for a number of major films after this including Star Wars and Raging Bull Shooting took place on New York City's West Side, at a time when the city was on the brink of bankruptcy.

According to producer Michael Phillips , "the whole West Side was bombed out. There really were row after row of condemned buildings and that's what we used to build our sets, were condemned buildings.

Now it's fashionable real estate But New York and Times Square was shuddering and disgusting. It's just exciting to see the city bounce back and become the great place it is today from where it was then.

We didn't know we were documenting what looked like the dying gasp of New York. Filmed in an actual apartment, the tracking shot over the shootout scene took three months of preparation, as the production team had to cut through the ceiling to shoot it.

The music by Bernard Herrmann was his final score before his death on December 24, , and the film is dedicated to his memory. Robert Barnett of MusicWeb International has said that it contrasts deep, sleazy noises, representing the "scum" that Travis sees all over the city, with the saxophone, a musical counterpart to Travis, creating a mellifluously disenchanted troubadour, played by Ronnie Lang.

Barnett also observes that the opposing noises in the soundtrack—gritty little harp figures, hard as shards of steel, as well as a jazz drum kit placing the drama in the city—are indicative of loneliness in the midst of mobs of people.

Deep brass and woodwinds are also evident. Barnett heard in the drumbeat a wild-eyed martial air charting the pressure on Bickle, who is increasingly oppressed by the corruption around him, and that the harp, drum, and saxophone play significant roles in the music.

Jackson Browne 's " Late for the Sky " is also featured in the film, appearing in a scene where couples are dancing on the program American Bandstand as Travis watches on his television.

Some critics showed concern over year-old Foster's presence during the climactic shoot-out. Foster said 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.

Moreover, Foster said, she was fascinated and entertained by the behind-the-scenes preparation that went into the scene. In addition, before being given the part, Foster was subjected to psychological testing , attending sessions with a UCLA psychiatrist, to ensure that she would not be emotionally scarred by her role, in accordance with California Labor Board requirements monitoring children's welfare on film sets.

Additional concerns surrounding Foster's age focus on the role she played as Iris, a prostitute. Years later she confessed how uncomfortable the treatment of her character was on set.

Scorsese did not know how to approach different scenes with the actress. The director relied on Robert De Niro to deliver his directions to the young actress.

Foster often expressed how De Niro, in that moment, became a mentor to her, stating that her acting career was highly influenced by the actor's advice during the filming of Taxi Driver.

Taxi Driver formed part of the delusional fantasy of John Hinckley Jr. His attorney concluded his defense by playing the movie for the jury.

The climactic shoot-out was considered intensely graphic by a few critics, considering an X rating for the film.

In later interviews, Scorsese commented that he was pleased by the color change and considered it an improvement over the originally filmed scene.

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" of saving Iris, 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. James Berardinelli , in his review of the film, argues against the dream or fantasy interpretation, stating:.

Scorsese and writer Paul Schrader append the perfect conclusion to Taxi Driver. Steeped in irony, the five-minute epilogue underscores the vagaries of fate.

The media builds Bickle into a hero, when, had he been a little quicker drawing his gun against Senator Palantine, he would have been reviled as an assassin.

As the film closes, the misanthrope has been embraced as the model citizen—someone who takes on pimps, drug dealers, and mobsters to save one little girl.

On the LaserDisc audio commentary , Scorsese acknowledged several critics ' interpretation of the film's ending as being Bickle's dying dream.

He admits that the last scene of Bickle glancing at an unseen object implies that Bickle might fall into rage and recklessness in the future, and he is like "a ticking time bomb".

The film has also been connected with the s wave of vigilante films and has been noted as a more respectable New Hollywood counterpart to the numerous exploitation vigilante films of the decade.

The film can be viewed as a spiritual successor to The Searchers. As Roger Ebert pointed out, [42] both films center on a lonely war veteran who attempts to rescue a young girl who does not want to be saved.

Both also portray the main character as someone who is alienated from society and who cannot establish normal relationships with people.

It is not clear whether Paul Schrader looked for this film specifically for inspiration, but the similarities are apparent.

Some critics have described the film as "neo-noir". Roger Ebert instantly praised it as one of the greatest films he had ever seen, claiming:.

Taxi Driver is a hell, from the opening shot of a cab emerging from stygian clouds of steam to the climactic killing scene in which the camera finally looks straight down.

Scorsese wanted to look away from Travis's rejection; we almost want to look away from his life. But he's there, all right, and he's suffering.

Empire also ranked him 18th in its "The Greatest Movie Characters" poll, [56] and the film ranks at No. Time Out magazine conducted a poll of the greatest movies set in New York City.

Taxi Driver topped the list placing at No. Schrader's screenplay for the film was ranked the 43rd-greatest ever written by the Writers Guild of America.

By contrast, Leonard Maltin gave a rating of only 2 stars and called the film a "gory, cold-blooded story of a sick man's lurid descent into violence" which was "ugly and unredeeming".

Screenwriter Paul Schrader who directed the latter three films has said that he considers the central characters of the four films to be one character, who has changed as he has aged.

The portrayal of psychopath Albie Kinsella by Robert Carlyle in British television series Cracker was in part inspired by Travis Bickle, and Carlyle's performance has frequently been compared to De Niro's as a result.

The French director based the eponymous Tamil Tiger character on the one played by Robert De Niro in order to make him a "real movie hero". De Niro's "You talkin' to me?

In the relevant scene, the deranged Bickle is looking into a mirror at himself, imagining a confrontation that would give him a chance to draw his gun:.

You talkin' to me? Then who the hell else are you talkin' to? Well I'm the only one here. Who the fuck do you think you're talking to? Scorsese said that he drew inspiration from John Huston's movie Reflections in a Golden Eye in a scene in which Marlon Brando 's character is facing the mirror.

Screenwriter Paul Schrader does not take credit for the line, saying that his script only read "Travis speaks to himself in the mirror", and that De Niro improvised the dialogue.

However, he went on to say that De Niro's performance was inspired by "an underground New York comedian" he had once seen, possibly including his signature line.

Roger Ebert said of the latter part of the phrase "I'm the only one here" that it was "the truest line in the film Travis Bickle's desperate need to make some kind of contact somehow—to share or mimic the effortless social interaction he sees all around him, but does not participate in.

Clemons said that De Niro had seen Bruce Springsteen say the line onstage at a concert as fans were screaming his name, and decided to make the line his own.

The first 'Collector's Edition' DVD, released in , was packaged as a single-disc edition release. It contained special features, such as behind-the-scenes and several trailers, including one for Taxi Driver.

The first disc contains the film itself, two audio commentaries one by writer Schrader and the other by Professor Robert Kolker , and trailers. This edition also retains some of the special features from the earlier release on the second disc, as well as some newly produced documentary material.

A Blu-ray was released on April 5, , to commemorate the film's 35th anniversary. It includes the special features from the previous 2-disc collector's edition, plus an audio commentary by Scorsese released in for the Criterion Collection , previously released on LaserDisc.

As part of the Blu-ray production, Sony gave the film a full 4K digital restoration, which included scanning and cleaning the original negative removing emulsion dirt and scratches.

Colors were matched to director-approved prints under guidance from Scorsese and director of photography Michael Chapman.

In late January , a sequel was announced by De Niro and Scorsese. Also in , De Niro mentioned interest in bringing back the character in conversation with Actors Studio host James Lipton.

In , Variety reported rumors that Lars von Trier , Scorsese, and De Niro planned to work on a remake of the film with the same restrictions that were used in The Five Obstructions.

He said, "It was a terrible idea" and "in Marty's mind, it never was something that should be done. From Wikipedia, the free encyclopedia.

This article is about the film. For the occupation, see taxicab driver. For other uses, see Taxi Driver disambiguation. Theatrical release poster.

Julia Phillips Michael Phillips. Release date. Running time. For the comedy, see You Talkin' to Me? British Board of Film Classification. May 5, Retrieved June 11, Dick, Bernard Columbia Pictures: Portrait of a Studio.

University Press of Kentucky. Archived from the original on March 8, Retrieved March 8, Palgrave Macmillan. Box Office Mojo. Archived from the original on February 2, Retrieved January 23, Martin Scorsese.

Taxi Driver. British Film Institute Publishing. Archived from the original on November 25, Retrieved May 2, Retrieved March 14, Archived from the original on December 29, Retrieved December 29, Scarecrow Press.

Archived from the original on May 14, Retrieved November 21, Schenectady Gazette. January 27, Journal of Scandinavian Cinema. The Hollywood Reporter.

Retrieved August 15, Art of the Title.

16 Userkritiken zum Film Taxi Driver von Martin Scorsese mit Robert De Niro, Jodie Foster, Harvey Keitel - idwebdesign.eu Taxi Driver - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | idwebdesign.eu Anfang der er-Jahre befand sich der Journalist und Filmkritiker Paul Robert De Niro setzte nach "Der Pate 2" () mit "Taxi Driver". Er ist ein Mann voller Gegensätze, zum einen sympathisch und "aufrecht" zum anderen eine fast psychopathische Killermaschine, die ohne Skrupel seine Feinde erlegt Stichwort: "lutsch doch mal daran" Bevor er jedoch richtig zu Wort kommen Sean Keenan, wird er von ihrem Kollegen unter der Drohung, die Polizei zu rufen, aus Zita Aretz Büro gedrängt. Die Geschichte selbst ist packend erzählt und zieht den Zuschauer ins Geschehen mit hinein bis er in einem tollen Showdown endet. Robert De Niro. Oder Brooklyn Film Robin Wood es einmal formulierte, eine Zeit, in der Filme vor unseren Augen aufzubrechen schienen. Er muss etwas tun. Martin Scorsese. Für diese Funktion müssen sie in der Community angemeldet sein. American One Piece Gold Film. Man lernt nie aus. Laut Aethelred Niro ist dies keinesfalls Weitere Film-News.

Taxi Driver Film Inhaltsverzeichnis Video

Taxi Driver (6/8) Movie CLIP - Travis Wants to Help Iris (1976) HD

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2 Kommentare

  1. Ich denke, dass Sie den Fehler zulassen. Ich kann die Position verteidigen. Schreiben Sie mir in PM.

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