His movies are about youth’s dreams squelched by the adult verities, the charismatic fullness of a jungle-cat punk (Keitel, trapped in Sport’s coded character), a feisty twelve-year-old whore (Jodie Foster, who has the shiny complexion, hair, and bright eyes of neither lower East Side nor a baby prostitute), a vulgar and good-natured cabbie (Peter Boyle, who like a Thirties character actor, tells Manhattan versions of tall tales to his buddies at the Belmore Cafeteria). The Power & the Gory By Manny Farber & Patricia Pattersonĭe Niro’s Travis Bickle, wanting to be “a person like other people”-to be a pair with the wondrous purity of his political campaigner blonde (Cybill Shepherd)-joins Alice Hyatt and Mean Streets’s always-repenting Charlie in Martin Scorsese’s angst oeuvre.
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He keeps saying “but I’m not a cop” as he gets the nice quality of a literal-minded person not knowing how to react to a hipster.
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De Niro’s uneducated taxi driver freezes on the spot, not quite sure whether Sport, a big smile, is putting him down. The queer oblique positionings of the scene, buzzing with star-turn acting, reveal a subtle insight: when any person feels tipped off-balance by ridicule, it often has a paralyzing effect. He’s hypnotized and puzzled by Harvey Keitel’s razzle-dazzle pimp act. The visuals are almost constantly bold, covering a scene from all angles a scene like the transaction of guns, even the pimp-cabbie verbal duels (in which Michael Chapman’s funky but somewhat slick photography is nearly static), are interesting scenes for the odd way the nearly catatonic cab driver (De Niro) is at an angle to some juicy spielist.
The film has a good sense of modern paralysis, people flailing about energetically but not moving an inch (“twelve hours of driving a taxi and I still can’t sleep”). Every scene combines the frantic and the still, almost simultaneously.
He’s very good at wild manic scenes and better at poignant introversion: a man watching TV in a trance and eating while not looking at his food, or giving the sense of tense repression. T axi Driver has a lot of negative aspects, but it would be silly to shrug off its baroque visuals and its high-class actor, Robert De Niro, whose acting range is always underscored by a personal dignity.
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