"Taxi Driver" Directed by Martin Scorsese, Starring Robert De Niro, Jodie Foster, Cybill Sheperd, Harvey Keitel, Albert Brooks, Peter Boyle, and Martin Scorsese. This Film is really an American Classic. You not only have one of the most influential pair but also one of the best partnerships in Film History. Robert De Niro plays Travis Bickle a Vietnam War Vet, who finds work as a Taxi Driver in New York. It's the mid 70's and things at least from Travis's perspective aren't too pretty. As a Taxi Driver he sees and comes across everyone and everything. One night he crosses paths with a young girl named Iris who is a prostitute when she gets into his cab and tells him to drive. She is played by Jodie Foster. Although he is stunned moments later a pimp played by Harvey Keitel, shows up and takes her away.This Film is unique and one of it's kind in that it shows Travis as a loner and takes you on this psychological journey from his view. It's one of, if not the first Film to really dive into and depict a first person kind of view. Travis is an insomniac so he works days and nights. He eventually meets a woman named Betsy who played by Cybill Sheperd works with a staff on a campaign for the Senator. They go out a couple times but things don't end so well. And this sends Travis on a Slippery slope. He soon becomes obsessed with guns and starts to get ideas to assassinate the Senator and try to make the world right around and somehow make a change. At the time Brian De Palma was attached to Direct but then suggested Scorsese, however Producers of the Film wanted to see a little more from Scorsese. He had done a few films but had just finished Mean Streets and was starting to gain notice. When Scorsese was ready to make Taxi Driver, De Niro was unavailable since he was working with Francis Ford Coppola on The Godfather Part II. The following year Scorsese and De Niro began work on the Film. De Niro spent time behind the wheel of a Taxi for preparation for his role of Travis. He was only recognized once and this was after he won his first Oscar for The Godfather Part II.
"The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings." -
Taxi Driver (1976) -"Travis Bickle: Loneliness has followed me my whole life, everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man."
With After Hours (1985) Scorsese made an aesthetic shift back to a pared-down, almost "underground" film-making style. Filmed on an extremely low budget, on location, and at night in the SoHo neighborhood of Manhattan, the film is a black comedy about one increasingly misfortunate night for a mild New York word processor (Griffin Dunne) and featured cameos by such disparate actors as Teri Garr and Cheech and Chong.
Though it was not received well by audiences, it was given positive reviews and went on to be considered an "underrated" Scorsese film, and a cult classic. The film did, however, garner Scorsese the Best Director Award at the 1986 Cannes Film Festival and allowed the director to take a hiatus from the tumultuous development of his next film... The Last Temptation of Christ.
Film critic Roger Ebert gave After Hours a positive review and a rating of four out of four stars. He praised the film as one of the year's best and said it "continues Scorsese's attempt to combine comedy and satire with unrelenting pressure and a sense of all-pervading paranoia." He later added the film to his "Great Movies" list.
Scorsese's next project was his fifth collaboration with Robert De Niro, The King of Comedy (1983). It is a satire on the world of media and celebrity, whose central character is a troubled loner who ironically becomes famous through a criminal act (kidnapping). De Niro gave yet another wholly original performance—this time, as Rupert Pupkin, a self-styled stand-up TV comedian. The film was an obvious departure from the more emotionally committed films he had become associated with. Visually, it was far less kinetic than the style Scorsese had previously developed, often using a static camera and long takes. The expressionism of his previous work, here gave way to moments of almost total surrealism. It still bore many of Scorsese's trademarks, however. The King of Comedy failed at the box office, but has become increasingly well regarded by critics in the years since its release. German director Wim Wenders numbered it among his 15 favorite films.