You got no choice, any way l mean , we're all fucked.

Yo no se si es que no he pillado el significado de la película o que, pero no me pareció una maravilla como todo el mundo dice. Siempre he oído de ella que es una gran película de culto, pero la verdad, se me hizo algo monótona, muy muy rayante en ciertos momentos, y con poco sentido. La actuación de De Niro es excepcional, eso sí, me encantó su papel, y bueno, tiene algo de tensión y de misterio, pero no se, no em acabó de enganchar. La parte final en la que por fin comienza la acción es lo mejor.

My fellow cinema enthusiasts, the time came for me to experience the beloved Taxi Driver. The Don (Martin Scorsese) and Omega (Robert De Niro) brought us a banging and eye-opening character study in the 70s fueled by an iconic and defining central performance and dazzling technical pioneering by Bernard Herrmann & Michael Chapman. RIP to one of the most influential and memorable cinematographers the industry has ever known and hats off to the entire production for getting this mission accomplished. Taxi Driver hangs in the rafters of legends and for good measure, I caught on early as to why this movie is held in such high regard. What a movie, boom! Taxi Driver directed by the legendary Martin Scorsese (Goodfellas, Casino) and written by Paul Schrader (Raging Bull, Bringing Out the Dead, First Reformed) was released in 1976 and is starring Robert De Niro (The Untouchables), Jodie Foster (Silence of The Lambs), Cybill Shepherd, Harvey Keitel (From Dusk Til Dawn), Peter Boyle (Everybody Loves Raymond), and Albert Brooks (Drive). Taxi Driver takes place in a decayed and purely absent New York City ensuing the Vietnam War. And the tale arises Travis Bickle (De Niro), a 26-year-old military veteran enduring PTSD and insomnia, taking on the duties of a night-time taxi driver to cope with reality. How their mental capacity dwindles while working nights in this dirty city is revealed through a character study that focuses on loneliness and withdrawal. Which comes to a holy climax that garnished all sorts of reactions after its reveal to the audience. Through a star-studded performance by De Niro and a tone-setting musical score and photography, Taxi Driver makes sense to have reigned in high praise and cements itself as a must-see piece of cinema. Travis Bickle (De Niro) is a veteran living in the reality of New York City after the Vietnam War. Bickle has PTSD and suffers insomnia and looks at the job of a nighttime taxi driver as necessary for them in their current state. Bickle has thoughts and we're tuning into those thoughts in the form of narration, and Bickle has a lot to complain about since returning home. Set off by the muck and soot that has overtaken New York City, the pimps and prostitutes, drugs and violence, shady figures in general, Bickle has disdain for the place, people, and activities in the city. This overly consumes them to the point of anger and they are consistently isolated with their less than desirable thoughts. The sort of ideas roaming around in the head of Bickle fuels the narrative they have that the city is desperately in need of change. And when Bickle has had enough of the city and the figures we meet along the way in this story, we'll see how a person decides to act on those emotions and feelings, and what people are capable of doing when they are consumed by loneliness, isolation, and negative thoughts. The pros for me in this movie are the leading acting talent, direction, scene-setting cinematography, and musical score that breathe every inch of life into this movie. De Niro is a tormented soul who fantasizes about ridding the streets of filth and the narration we get out of this character goes hand in hand with one of the qualities of this movie. Watching De Niro unravel is enthralling and gave me a couple of scenes that left an imprint for eternity. Scorsese is the captain of this ship and commands it well. Each scene mattered and the story came to a damn good resolve with little feeling unnecessary and with everything from a production standpoint, is put together great. Capturing the city of New York looked every bit of grittiness at night, filled with activity and scheming figures. And during the daytime, there are a variety of camera shots used to showcase the busy life of a New Yorker. They use long tracking shots to show buildings and cars, close-ups of character shots, etc. The musical score is tuned just right and has sounds I couldn't get out of my head (Taxi Driver theme song) and overall the soundtrack sets the ambiance of this movie, completely. Taxi Driver is touted for the technical aspects and has gotten praise from the academies, the composer (Bernard Hermann) and cinematographer (Michael Chapman) are huge for this production. This movie demands you pay attention until the end frame. The cons for me in this movie are some of the character choices they have Bickle make (taking Betsy to a porn theater is seriously dumbfounding and I couldn't believe they thought it was a decent idea and the reaction by Betsy to this is seen from a mile away) and the movie being labeled as a "thriller" felt anything but that until the last 35-40 minutes of the viewing. There is anticipation watching Bickle unravel and what closure we're going to get for the story but unfortunately, I didn't find this to be always interesting and the movie does a ton of plotting to get to the climax of the story. Fortunately, the ending of the movie is climatic and worth the while it takes getting there, only not a story I would describe as thrilling. And if not for the climax of this story, I wouldn't have held this movie in that high of regard after accounting for some of the technical and acting bravadoes that went into this production. Martin Scorsese set out and made an entry in his filmography. Being criticized for the violence shown in this movie gives us an idea of how far we've come in the history of cinema. In the 70s this movie would horrify and offend people and I don't disagree with that idea given the circumstances and inspirations this movie has lent to people. Scorsese told the story they wanted to amidst financial issues in production and performers taking huge pay cuts to make this movie come alive. I'm more than glad I finally saw this movie and can check it off my list of most highly regarded films that I had yet to see. Taxi Driver is a damn good character study that has a thoughtful ending to its story where one decision made can change the entire outlook of the movie for the characters and audience members. And the decision of ending the movie this way had me in my thoughts and is left up to the viewer to interpret the art in different ways. I would highlight this movie by its leading man in De Niro, the sure-handed direction and storytelling in Scorsese, and the skillset of the composer Herrmann and the cinematographer Chapman. This movie is worth a watch and a recommendation to the audience. If you're someone who likes the art Scorsese makes then this movie will be for you, but if you're someone that is put off by bloody violence and offensive language, then this piece of art isn't for you. If and when you can, go and watch, Taxi Driver.

Anatomy of a man going to take action against the filth imof the city

So I finally got around to seeing this classic film. Yes, it’s as good as everybody says. However, I was quite shocked at how popular this is. Other than the fact that it’s a Scorsese film, it doesn’t deem any right to be popular and well-understood. It’s ambiguous and slightly enigmatic, leaving no trace of exposition dumps to explain the film to you in a literal level. It forces you to think and interpret what you’re witnessing. Taxi Driver is a famous example of what arthouse cinema can accomplish. This sounds like a contradiction...famous and arthouse is an oxymoronic amalgamation. Yet, Taxi Driver is that rare type of movie that gets the attention it deserves. It’s an example that proves cinema is an irreplaceable medium. Some movies can clearly exist in another medium and sufficiently get their message across because they fail to prove themselves as to why their story needs to be told in a cinematic format. Taxi Driver, on the other hand, cannot get that same message across in any other way.  The performance by De Niro is like no other. The soothing and slow jazz score is entrancing and memorable. It’s a score that becomes the perfect marriage to Scorsese’s timeless directing of the 70’s late-night, rainy, and atmospheric New York. Whenever there’s a Paul Schrader and Martin Scorsese combo it always seems like something truly magical and sincere gets made, bringing their utmost passion and intimacy to life.