Plot: 'Taxi Driver' is a 1976 film directed by Martin Scorsese and written by Paul Schrader. Set in New York - soon after the Vietnam war - we follow leading man Robert De Niro (Travis Bickle) play the role of a depressed and lonely man, who provides his parents with the false illusion that he is happy and healthy - as well as living the successful life of that of a government employee. Instead, he has resulted in becoming a taxi driver, to which helps him cope with his chronic insomnia. Whilst spending his days in seedy porn theatres, we follow him working 12-hour shifts almost every night of the week, travelling through the five boroughs of New York City as he meets a range of bizarre passengers. He eventually develops feelings for campaign volunteer Betsy (Cybill Shepherd), who works for fictional New York Senator Charles Palantine. Although he joins this volunteer group to focus himself into something rather than his pounding thoughts of no sleep, his thoughts begin to turn violent, due to his disgust towards petty street crime - such as the high motif of prostitution within this film - which leads to his mood swings deepening. From his eternal insomnia and rage towards the outter world, he begins and program of intense physical training. As well as this, he even buys four various pistols from an illegal dealer, leading to the iconic mirror scene - "you talkin' to me?" Eventually, he even shaves his head, highlighting the brink of his madness.
Although appearing negative, his stronger traits are highlighted, as he help a run-down grocery store by dealing with the robber, to attempting to take in 12-year-old prostitute Iris (Jodie Foster), who he picks up one night in his taxi after attempting to escape her pimp, Sport. Violence is emphasized within this film, as he attempts to assassinate Senator Palantine, as well as shooting Sport and his bouncer. Although from reading the plot the film seems morbid, its ending has ambiguous endings, due to him receiving appreciation of Iris' parents, as well as him appearing almost happy within the final scene. However, although he may have escaped criminal records and an unhappy life, these could be interpreted as his dying thoughts; wishful thinking.
Told in occasional narration from Bickles' diary, 'Taxi Driver' ties within a series of other films - such as 'American Gigolo', 'Light Sleeper', and 'The Walker', which make up a series referred to variously as the "Man in a Room" or "Night Worker". Featuring Harvey Keitel and Peter Boyle amongst others, this film received four Academy Awards, which included "Best Picture", as well as winning the Palme d'Or at the 1976 Cannes Film Festival. Its unique plot makes it a tense watch, as well as its ambiguity, strong characters and subliminal edits make it one of my personal favourite motion-pictures of all time.
Although not a harsh thriller - to which I am focused on producing for the opening of my film - it is a drama/thriller, which falls under my selected categories.
FUN FACT: The film gained notoriety once John Hinckley, Jr. confessed that it was his obsession with Foster's role that made him attempt to assassinate Ronald Reagan in 1981.
Opening Sequence:
- The opening titles begins with a black background, with the distributor - 'Columbia Pictures' - situation in the centre of the screen, presented in large red letters. The red letters may represent rage, blood, horror... It contrasts with the background and is quite eccentric, especially in comparison to the silence of the opening, adding to the questioning feeling. Another title follows, lasting for about 4-5 seconds each, making this opening slightly more foreboding. After this second title - stating the leading role, 'Robert De Niro' - and after approximately 12 seconds, the movies score begins. The ambient scenes then begin, as the black background dissolves and the sound bridge fastens in pace, being quite dreamlike.
- The opening long shot last for 12 seconds, opening the film with a mass amount of smoke absorbing the screen, to what appears to be a street. Music begins, although at first quiet, being of only saxophones, hinting at a Jazz score of the film. A taxi then slowly enters from the right, covering the whole screen, underlining its superiority. Due to its dominance, it suggests it takes over the entire picture, therefore hinting work will take over De Niro. Its yellow colour is instantly recognizable, due to the stereotypical New York yellow taxi's. The movie's title is then revealed, as the cab continues to drive and reveals the letters of 'Taxi Driver'. Its letters are in bright yellow neon, also indicating the typical norms of the vehicle On top of this, the word 'taxi' is American, highlighting the origin of this film. The change of the titles colouring shows a change of mood throughout the film. Behind these letters we see that this shot has been taken from long, showing various blurry lights in the distance - highlighting a street, which opens up this is situated in a suburban area.
- As the taxi disappears to the left of the screen, smoke takes over the entire shot, highlighting haziness and uncleanness. This may relate to De Niro's character being unable to sleep, showing he feels obscure about his life due to his illness. Titles then appear, first on the right, stating more actors' names. These are also in neon yellow, with an almost angelic shine around them. As one title fades, another one the left appears, going on to fade whilst another on the left appears, and so on. This continues for approximately 12 seconds, continuing for 2-3 seconds each. This give the illusion that they are morphing in and out of each other, which could show the different people that come and go from the leading role's life; likewise to passengers within a taxi. They could also represent his various attempts of trying to grasp onto something - such as save Iris - but failing miserably, only to try again. The saxophones loudness increases, as their tone goes up and down- relating to the mood, as well as harsh drum beats emphasizing annoyed tones.
- A fast-paced fade then opens the next shot, showing an extreme close-up of Robert De Niro's face, focusing upon the upper level of his head. Lasting for a timely 11 seconds, we view him looking around slowly, as he appears spaced out and slightly confused. This shows him dealing with his thoughts, as it stresses his main level of mood throughout the film; being perplexed and bewildered, with a tone of agitation. He almost appears isolated, unaware of where he is; the city of New York may confuse him. Using De Niro as this role was ideal, as his tight eyebrows and creases on his face show his tiredness and worry. The use of low key lighting also adds to his emotional tone, as his core is mainly darkened. This gets interrupted by a neon light, emphasized the business of the city, highlighting his main activity; work. More titles continue over De Niro's face. The drum beat comes to a halt, as a saxophone solo takes over, showing a dreamlike, soothing tone - relating to his need for sleep.
- The sequence then fades onto the next shot, which shows a medium cut from inside a car - presumably a taxi. We are looking out into the street, although it is hazy and unsightable due to the heavy pour of rain, emphasizing his worn-down thoughts and struggle to sleep. It may also highlight a side-effect of little sleep - poor eyesight. An attempt is made to clear away the water, as window wipers try to wipe it away, although the rain keeps coming back, connoting that his troubles won't go away. With low key lighting used for inside the car (as this blocks out his troubles) whilst shallow focus of the light outside blurs the lights, morphing them together, giving a messed up illusion. The drum beats harden, although focusing on cymbals.
- The shot then dissolves into the streets of New York, opening up his outter world. A gradual stretch, focus pull effect is used, showing his weariness, boredom and tiredness as he tackles his insomnia as well as his gruelling 12-hour, tedious shifts. The image then blurs until it is too hazy to witness - lasting for about 20 seconds - which shows that things will gradually worsen throughout the film. Whilst the dark night above shows more yellow titles, being of a reminder we are still travelling by a yellow taxi.
- The shot then dissolves to people crossing the street in a slow-paced action, adding to more sights he will witness. However, the use of slow-pace connotes his sluggish mentality. More smoke is now used, emphasizing that things are to get more foggy around him. Also, it shows that throughout everything he does and sees, he cannot focus thoroughly due to his problem
- A shot-reverse-shot shows De Niro's eyes again, although his eyes now pan more slowly - from right to left - with the use of a red tint over his face. His slowness shows a slight demention, whilst the red suggests inner rage. His face then dissolves to smoke, and the opening is concluded. This indicates his insomnia may eventually be too much for him, eventually worsening and finishing him off. The cymbals and drums come to a halt once again, focusing on a saxophone solo. This solo, again, hints at his desire for sleep, as well as shows his seriousness.
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