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)

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)

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)

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)

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)