Taxi Driver (1976)

Director:

Martin Scorsese

Guionista:

Paul Schrader (written by)

Release Date:

8 febrero 1976 (USA)

Genre:

Crime | Drama | Thriller

Frase comercial:

On every street in every city, there's a nobody who dreams of being a somebody.

Plot:

A mentally unstable Vietnam war veteran works as nighttime taxi driver in a city whose perceived decadence and sleaze feeds his urge to violently lash out, attempting to save a teenage prostitute in the process.

Plot Keywords:

Manhattan | Mass Murder | Teenage Actress Playing Preteenage Girl | Taxi | Times Square

Awards:

Nominated for 4 Oscars. Another 18 wins & 9 nominations

Comentarios de los usuarios:

An Enigmatic Masterpiece

Cast

Robert De Niro	...	Travis Bickle (as Robert DeNiro)
Cybill Shepherd	...	Betsy
Peter Boyle	...	Wizard
Jodie Foster	...	Iris Steensma
Harvey Keitel	...	'Sport' Matthew
Leonard Harris	...	Senator Charles Palantine
Albert Brooks	...	Tom
Diahnne Abbott	...	Concession Girl
Frank Adu	...	Angry Black Man
Gino Ardito	...	Policeman at Rally
Victor Argo	...	Melio (as Vic Argo)
Garth Avery	...	Iris' Friend
Harry Cohn	...	Cabbie in Bellmore
Copper Cunningham	...	Hooker in Cab
Brenda Dickson-Weinberg	...	Soap Opera Woman (as Brenda Dickson)
Harry Fischler	...	Dispatcher
Nat Grant	...	Stickup Man
Richard Higgs	...	Tall Secret Service Man
Beau Kayser	...	Soap Opera Man
Victor Magnotta	...	Secret Service Photographer (as Vic Magnotta)
Bob Maroff	...	Mafioso
Norman Matlock	...	Charlie T
Bill Minkin	...	Tom's Assistant
Murray Moston	...	Iris' Timekeeper
Harry Northup	...	Doughboy
Gene Palma	...	Street Drummer
Harlan Cary Poe	...	Campaign Worker (as Carey Poe)
Steven Prince	...	Andy - Gun Salesman
Peter Savage	...	The John
Martin Scorsese	...	Homicidal Passenger in Travis' Cab
Nicholas Shields	...	Palantine's Aide
Ralph S. Singleton	...	TV Interviewer (as Ralph Singleton)
Joe Spinell	...	Personnel Officer
Maria Turner	...	Angry Hooker
Robin Utt	...	Campaign Worker
listado alfabético del resto del reparto:
Jason Holt	...	Extra (unconfirmed)
Joseph Bergmann	...	Movie House Patron (uncredited)
William Donovan	...	Police Officer (uncredited)
Jean Elliott	...	Clerk at Sam Goody Store (uncredited)
Debbi Morgan	...	Girl at Columbus Circle (uncredited)
Billie Perkins	...	Friend of Iris (uncredited)

Dirigida por
Martin Scorsese

Créditos del guión
Paul Schrader		(written by)

Producida por
Phillip M. Goldfarb	....	associate producer
Julia Phillips	....	producer
Michael Phillips	....	producer

Música original por
Bernard Herrmann

Fotografía por
Michael Chapman

Montaje por
Tom Rolf
Melvin Shapiro

Casting
Juliet Taylor

Dirección artística
Charles Rosen

Decorados
Herbert F. Mulligan		(as Herbert Mulligan)

Diseño de vestuario por
Ruth Morley

Departamento de maquillaje
Irving Buchman	....	makeup artist
Mona Orr	....	hair stylist
Dick Smith	....	special makeup

Dirección de producción
Phillip M. Goldfarb	....	production manager (uncredited)

Ayudante de dirección
Robert P. Cohen	....	dga trainee (as Robert Cohen)
William Eustace	....	second assistant director
Peter R. Scoppa	....	assistant director
Ralph S. Singleton	....	second assistant director (as Ralph Singleton)

Art Department
Leslie Bloom	....	property master (as Les Bloom)
Dave Goodonoff	....	assistant property master (as Dave Goodnoff)
Cosmo Sorice	....	scenic artist

Departamento de sonido
Rick Alexander	....	sound re-recording mixer (as Dick Alexander)
Gordon Davidson	....	sound effects editor
James Fritch	....	sound effects editor (as Jim Fritch)
Sam Gemette	....	sound effects editor
David M. Horton	....	sound effects editor (as David Hourton)
Les Lazarowitz	....	sound mixer
Roger Pietschmann	....	sound recordist
Vern Poore	....	sound re-recording mixer
Robert Rogow	....	boom operator
Tex Rudloff	....	sound re-recording supervisor
Frank E. Warner	....	supervising sound effects editor
Mel Zelniker	....	adr recordist (uncredited)

Efectos especiales
Tony Parmelee	....	special effects

Visual Effects
David Nichols	....	visual consultant

Camera and Electrical Department
Alec Hirschfeld	....	assistant camera
Bill Johnson	....	assistant camera
Richard Quinlan	....	gaffer
Ed Quinn	....	grip (as Edward Quinn)
Fred Schuler	....	camera operator
Steve Shapiro	....	special photography
Robert Ward	....	key grip
William Ward	....	best boy (as Billy Ward)
Josh Weiner	....	still photographer
Ron Zarilla	....	assistant camera
Michael Zingale	....	camera operator: second unit
Paul Kimatian	....	still photographer (uncredited)

Casting Department
Sylvia Fay	....	atmosphere casting (as Sylvia Faye)

Costume and Wardrobe Department
Al Craine	....	wardrober

Editorial Department
Marcia Lucas	....	supervising editor
George Trirogoff	....	assistant editor
Billy Weber	....	assistant editor (as William Weber)
Steven Spielberg	....	supervising editor (uncredited)

Music Department
Shinichi Yamazaki	....	music editor
Dave Blume	....	musical director (uncredited)
Bernard Herrmann	....	musical director (uncredited)

Transportation Department
Raymond Hartwick	....	transportation coordinator (as Ray Hartwick)

Otros miembros del equipo
Keith Addis	....	assistant to producers
Marion Billings	....	special publicist
Kay Chapin	....	script supervisor
Pat Dodos	....	secretary to the producers
Connie Foster	....	double: Jodie Foster
Amy Holden Jones	....	assistant to director (as Amy Jones)
Eugene Iemola	....	production assistant
Howard Newman	....	publicist
Dan Perri	....	title designer
Noni Rock	....	production office coordinator
Renate Rupp	....	secretary to the producers
Chris Soldo	....	production assistant
Gary Springer	....	production assistant
Sandra Weintraub	....	creative consultant
Dan Coplan	....	location security (uncredited)

Thanks
Julia Cameron	....	special thanks
Loretta Cubberley	....	special thanks
Jerry Drange	....	special thanks
Richard B. Goodwin	....	special thanks (as Richard Goodwin)
Jack Hayer	....	special thanks
Bernard Herrmann	....	thanks
Linda Kopcyk	....	special thanks
Kris Kristofferson	....	special thanks
Charlie McCarthy	....	special thanks
Hank Phillippi	....	special thanks

Production Companies

• Bill/Phillips
• Columbia Pictures Corporation
• Italo/Judeo Productions

Distributors

• Columbia Pictures (1976) (USA) (theatrical)
• Columbia Films (1976) (France) (theatrical)
• Filmayer (1977) (Spain) (theatrical)
• American Broadcasting Company (ABC) (1979) (USA) (TV) (original airing)
• Columbia TriStar Home Entertainment (1999) (Netherlands) (DVD)
• Columbia TriStar Home Entertainment (2004) (Netherlands) (DVD)
• Columbia TriStar Home Entertainment (2007) (Netherlands) (DVD)
• Columbia TriStar Home Video (????) (UK) (video) (laserdisc)
• Columbia TriStar Home Video (????) (Netherlands) (VHS)
• Columbia TriStar Home Video (1991) (USA) (video) (laserdisc)
• Columbia TriStar Home Video (1999) (USA) (DVD) (widescreen)
• Columbia TriStar Home Video (1999) (USA) (VHS)
• Columbia TriStar Home Video (2004) (USA) (DVD)
• Columbia TriStar (????) (Brazil) (DVD)
• Columbia TriStar (????) (Brazil) (VHS)
• Criterion Collection, The (1981) (USA) (video) (laserdisc)
• LK-TEL (????) (Argentina) (VHS)
• Park Circus (2006) (UK) (theatrical) (re-release)
• RCA/Columbia Pictures Home Video (????) (USA) (video) (laserdisc)
• Sony Video (2007) (USA) (DVD) (widescreen)

Other Companies

• Alhambra  score album released by
• Metro-Goldwyn-Mayer (MGM)  optical effects
• Sylvia Fay/ Lee Genick & Associates Casting  extras casting

También conocida como:

Taxi Driver (Argentina) (Peru) (Spain) [es]

Duración:

113 min | Spain:110 min (cut version)

País:

USA

Idioma:

English

Color:

Color (Metrocolor)

Aspect Ratio:

1.85 : 1

Sonido:

Dolby SR (re-release) | Stereo

Clasificación:

Australia:MA (TV rating) | Iceland:16 | Germany:16 (re-rating) | New Zealand:R18 | Canada:R (Manitoba/Nova Scotia/Ontario) | Brazil:14 | Italy:VM14 | West Germany:18 (original rating) | Argentina:18 | Australia:R | Canada:13+ (Quebec) | Chile:18 | Finland:K-16 | France:-12 (re-rating) | France:-16 (original rating) | Hong Kong:IIB | Ireland:18 | Israel:18 | Japan:R-15 | Netherlands:16 | Norway:18 | Peru:18 | Portugal:M/18 | Singapore:M18 | South Korea:18 | Spain:18 | Sweden:15 | UK:18 (video rating) (1986) (cut) | UK:18 (video re-rating) (1993) (uncut) | UK:X (original rating) (cut) | USA:R

Filming Locations:

13 St between 2nd & 3rd Avenues, Manhattan, New York City, New York, USA

Company:

Bill/Phillips

Trivialidades:

Director Martin Scorsese claims that the most important shot in the movie is when Bickle 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 Bickle, as if to suggest that the phone conversation is too painful and pathetic to bear.

Goofs:

Continuity: When Travis stops in at the Bellmore and sits down with Wizard and Doughboy, he orders a cup of coffee. But seconds later, when he puts the Alka-Seltzer tablets into his water glass, there is a hamburger on his plate.

Quotes:

[first lines]
[phone rings loudly]
Personnel Officer: Harry, answer that.
Personnel Officer: So whaddya want to hack for, Bickle?
Travis Bickle: I can't sleep nights.
Personnel Officer: There's porno theaters for that.
Travis Bickle: Yeah, I know, I tried that.
Personnel Officer: So now what do you do?
Travis Bickle: I ride around most nights - subways, buses - but you know, if I'm gonna do that I might as well get paid for it.

Movie Connections:

Referenced in Saw II (2005)

Soundtrack:

HOLD ME CLOSE

An Enigmatic Masterpiece

If a picture is worth a thousand words then this movie (moving picture) is worth a million words, which is why it has probably generated at least a million words.

What can one say. The obvious: that "Taxi Driver" is great, it is. That it is a masterpiece, it is. What sets this film apart from so many other films, including great films, is that it is an enigma. Every time I watch this film I see something else, I notice something else, I feel something else, I wonder something else. And I am, clearly, not the only one who reacts to the film this way that is why it lends itself to endless speculation and discussion.

Since so many positive reviews have been made, rather than add my own red hot glowing review I thought I would address those people who have written that they don't like "Taxi Driver" because, they say, they find it dull and boring, hard to follow, etc. These people miss some important points about the film.

ONE, "Taxi Driver" is NOT an action film. If you want an action film watch "Die Hard" and its numerous sequels, or "Lethal Weapon" and its sequels, not to mention "Rambo" and thousands of other "action flicks." Nothing wrong with them, per se. Nothing wrong with liking them either. But is wrong to put down "Taxi Driver" because of what it is not.

TWO, "Taxi Driver" is about loneliness and loneliness is characterized by an almost crushing boredom and emptiness and Travis Bickle's character reflects that. His life is dull and boring, hardly anything happens to him and that is what "Taxi Driver" shows - Bickle's pathetic life.

THREE, some people say that they don't understand the plot, Bickle's attitudes and behaviour, etc. But that is because "Taxi Driver" is about a man who is profoundly emotionally disturbed although he (and his buddies) don't seem to know it. His actions aren't rational because he isn't rational. His actions make no sense because he makes no sense. Offhand, I can't think of any other film that has depicted mental illness as well as "Taxi Driver" and no film that attempts to show the world as seen by someone like Travis Bickle.

There you go: three reasons to address the most common criticisms of the film with one notable exception, its controversial ending, but THAT is a whole topic in itself which is just more proof of why "Taxi Driver" is so worthwhile - when viewers aren't sure what actually happens in the end (Is Travis hallucinating as he is dying? Is that what the slow moving overhead tracking shot suggests? Or does he really become a hero in the media and get realeased back into the world with his buddies? Etc, etc.) The questions and issues raised by "Taxi Driver" just go one and on.

Now if after reading the above you still don't think "Taxi Driver" is a great film, I can't help you. I am NOT saying you have to like (or love) "Taxi Driver" just appreciate it or at least acknowledge its greatness even if it isn't your cup of tea. Actually, I don't love "Taxi Driver" because it doesn't lend itself to love. It is too disturbing a picture precisely because it is way too close to reality, it cuts too close to the bone for my comfort (or rather, discomfort). It is not comfortable to watch because it isn't supposed to be. So if "Taxi Driver" makes you feel uncomfortable and uneasy it should because real life is uncomfortable and uneasy (unless you are born rich or something).

Finally, after watching it again for the nth time I have begun to notice (and feel) just how smooth "Taxi Driver" is. The overall feel and flow of the film is incredibly smooth in which not only each scene but each and every movement and gesture flows into the other imperceptibly. Sometimes I play back scences and sequences over and over to catch how it happens. In fact, I see it happening and still can't quite figure out how it is done but I have a hunch - DeNiro. DeNiro is just amazing in this film. If you haven't done it already, watch it with the remote in your hand and play some of the scenes in slow motion and you will SEE what I am talking about. Only DeNiro could do what he does. The sheer minimalism of his performance is just stunning. How he gets so much from so little never ceases to amaze me. DeNiro's performance in "Taxi Driver" only reminds me of what sports announcer Curt Gowdy exclaimed after one of Baltimore Orioles third baseman Brooks Robinson's incredible plays in the 1970 World Series,"This guy is another world!"