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“Taxi Driver”
An analysis of the portrayal of America and Americans in the film “Taxi Driver” using Travis Bickle as the popular anti-hero. -- 1,502 words; MLA

Film: "Taxi Driver"
This paper discusses the film "Taxi Driver" and director Martin Scorsese's cinematic techniques. -- 945 words;

"Taxi Driver"
An analysis of the film, "Taxi Driver". -- 3,400 words; MLA

'Taxi Driver'
An analysis of the film 'Taxi Driver' by Martin Scorsese, focusing on the idea of redemption. -- 1,800 words;

"Taxi Driver"
A presentation of the idea that writer Paul Schrader and director Martin Scorsese created an overtly feminist political film. The film examines such issues as urban life, violence, power, politics, and the media as refletions of a male-dominated culture. -- 1,350 words;

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TAXI DRIVER

The Other is a theme, motif or figure which seems to appear over and over in the movie. It
could be nature, women, other races, other cultures, homosexuals, criminals, rulers,
Gods, monsters, etc. In the film, the protagonist becomes just like The Other in order to
resolve the problem. Usually, The Other is killed by the protagonist at the end of the
movie. The Other is always the victim in the movie, it is a scapegoat: it is the focus of
the resolution of the problems. In Taxi Driver, The Other, according to me, is two
elements: women an criminals (gangsters). In the beginning of the film, the protagonist,
Travis Bickle falls in love with a woman who works for Palantine as a volunteer. After
going out with each other for a couple of times, the woman decides not to see Travis
again. Travis says that she's just like the others, meaning just like all the other
women. In order to take revenge, he tries to assassinate Palantine in front of her. The
other also appears as gangsters in the movie. Travis, in order to eliminate them, becomes
a criminal just like them. Therefor in Taxi Driver,we see two good examples of The Other.

In Taxi Driver we see that Travis Bickle still has an identity forming problem, or I
might say that he has unconsciously formed an identity during his childhood, but he's
trying to find it. It was his curiosity about his identity that was giving him problems
to sleep. Basically, his identity should be formed based on his father's identity, but
nothing is obvious. Whoever his (Travis) model was, planted the confidence in Travis to
form his identity. For example, if our parents don't tell us in early our childhood about
a certain quality that we have, we might have an identity crisis in our adult lives. In
this film, we have a good example of identity and rivalry. After Travis based his
identity upon his model, he started a competition with his model, he tried to do
something that his model wouldn't have done: he went out there and killed the gang
members. 
In Taxi Driver, we get introduced to two types of women: the good girl and the bad girls.
Both of them are introduced in the beginning of the movie, but the first one, the bad
girl, appears more frequently in the first part of the movie. She is the one that Travis
desires, the one that he would like to go to bed with. He even takes her out to an
X-rated movie. this, of course, is way of saying let's get laid. He might have done it
unconsciously, but it is obvious that he desired her. Although we are introduced to the
good girl in the beginning of the film, She appears towards the end of it. 
She is introduced to us as a hooker, getting into Travis' cab by saying: get me out of
here. Now, we all know that hookers make part of the bad girls, but according to Travis,
she's not. She's the girl that he wants to help, he would do anything to get her out of
her miseries, so he does: he goes and eliminates the gang members that have control over
her. 
Therefor, here we have a perfect example of Madonna/Whore Complex. 
Taxi Driver is a film that doesn't have only one end. Certain events bring an end to
story, where everything goes back to normality. The first event is when Travis tries to
assassinate Palantine. The second one is when he takes out all the gang members in the
building to save the good girl, and the third is when the bad girl gets into his cab, and
he completely ignores her because he has gotten over it.

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