I rarely plan what I'm going to watch on the weekends unless I'm going to the theaters.
I don't have time now to watch more than one movie in a weekend due to all my homework and various college activities. When I do have the opportunity I try to pick something good.
Usually I end up perusing the movie list at the library and picking something that looks good. Last weekend, I decided to watch a movie I had never seen, yet needed to see to legitimize my critical analysis of American film.
It happened to be one of those movies I was ashamed to never have seen.
Everyone has those, whether it is an obscure Hitchcock film or one of the best movies of all time. I won't admit to everything I haven't seen in this edition, but let's just say I don't know if I ever will see all that I need to because I am a completist. I have managed to see the filmography of Paul Thomas Anderson and all but one of the Coen Brothers' films. That's beside the point of the matter.
I decided to complete one more step in my never-ending viewing quest by renting "Taxi Driver."
Yes, I had never seen Martin Scorsese's breakout film even though I have seen earlier titles like "Mean Streets." To redeem myself, I finally rented it from the library and watched it. I was extremely satisfied by the level of storytelling and camera technique that it exhibits.
The simple plot follows a New York taxi driver, Travis Bickle (Robert De Niro), as he first gets his job. As he does his nightly rounds with the lowlifes and scum of city life, Bickle can't stand how rotten the underbelly of the city is becoming and takes it upon himself to clean it up. Tension rises as Bickle befriends a preteen hooker and a political activist. He begins seeking out a means to an end, leading to his downfall and (perhaps) redemption. Sorry for the ambiguity, but I am not one to spoil great plot devices and great scenes.
De Niro's Bickle is a haunting Vietnam veteran who doesn't deal with flashbacks or cold sweats. Instead, he deals with the hypocrisy and daily doldrums of city life. He barely earns a living and spends free time at the adult cinema.
His painful disassociation with society runs amok on screen with a bad date, improvised weaponry and a yellow-toothed grin that will drive any friend away. Consider this and then decide what this man will stand for when the credits roll and decide if he truly redeems himself.
From the opening shot, Scorsese creates an environment of color, motion and sound. The opening shot as a taxi emerges from a plume of steam is gorgeous and almost breathtaking in its simplicity. I almost would not realize this as an early Scorsese film because the camera movement is too precise and fluid for an up-and-coming director. He knows when to let a scene play out and when to move the camera. The most ingenious car shots are presented in this film just to highlight the nightlife downtown.
Along with De Niro, several other famous actors appear in some of their first roles in this film. Albert Brooks (the voice of Marlin in "Finding Nemo") appears as a political organizer for a presidential candidate. He isn't offering up sharp-witted quips, but he flows through his role very smoothly. Harvey Keitel, a usual Scorsese collaborator, appears as a pimp and brings many laughs to the screen with a spot-on performance.
Finally, who knew Jodie Foster would make a splash while only being in the last third of the film? She absolutely shines in a very young role.
The film is great and worthy of a watch, although it might get tougher to rewatch.
I recommend putting a dent in the list of films you need to see by checking one out this weekend. In theaters, three films open nationwide: "Percy Jackson and the Olympians: The Lightning Thief," "Valentine's Day" and "The Wolfman." This could be the weirdest Valentine's trio ever.
If you don't get out, pull out an old favorite or rent an old unseen flick to expand your horizons.
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