







Often copied. Seldom matched. Young Niro is very disturbed guy who becomes a violent/manic/hero. Only in America!!
One of the definitive American films of the 70s with a mesmerising lead performance by Robert De Niro. He plays Vietnam veteran Travis Bickle. Suffering from PTSD, he has insomnia and takes a job driving a New York taxi on the night shift where he witnesses the degradation and sleaze of the city night life. Pent up, bigoted and steadily slipping into psychosis Travis attempts to find normality in his life but socially inept and uneducated he cannot relate to others. He tries and almost succeeds in a relationship with the beautiful Betsy (Cybill Shepherd), a campaign worker for a local politician. But when this collapses Travis decides a different path which involves trying to 'rescue' 12 year old prostitute Iris (Jodie Foster) from the clutches of her pimp (Harvey Keitel). Travis decides his only route to salvation is through the catharsis of violence. Taxi Driver is a key film in the 70s 'cinema of loneliness' that incorporated works from eminent directors such as Arthur Penn, Stanley Kubrick and Robert Altman. It's a study of the toxic and destructive American masculinity in the post Vietnam War era and a very powerful one at that. With a score by the legendary Bernard Herrmann that is both ominous and reminiscent of 40s and 50s Hollywood and some key moments from the opening slow motion scene of the taxi emerging from the city smog to De Niro's improvised "you looking at me" soliloquy, this is an important film that every film fan needs to see and see again. A study of the perverted product of American society that leads to unprecedented gun violence. It's a masterpiece of modern cinema.
Taxi Driver grabs you by the collar and drags you through a neon-lit hellscape of insomnia, alienation, and urban rot. De Niro’s Travis Bickle is both a ticking time bomb and a mirror held up to a sick society—equal parts pathetic and petrifying. Scorsese directs like a man possessed, making every frame drip with menace and madness. The city breathes, festers, and pulses with threat. And Bernard Herrrman’s final score? A sleazy lullaby for the damned. It’s not just a descent into darkness—it’s a guided tour. You come out changed. Or at least, you should be worried if you don’t.