“‘Taxi Driver’ was a groundbreaking hybrid of the grind house (with its urban vigilante plot borrowed from Michael Winner’s 1974 ‘Death Wish’) and the art house (with quotations from Godard, Bresson and perhaps, in some of Travis’s more abstract nocturnal wanderings, the unfocused subjectivity of Stan Brakhage’s avant-garde films). The movie draws on contemporary fears of urban decay and social collapse, but is as timeless as Dante, with its descent into an East Village hell followed, in the extraordinary coda, by a glimpse of a West Village paradise where Travis is miraculously reunited with his corn-fed Beatrice (Cybill Shepherd), a sequence of teasingly ambiguous reality. ” [. . .] –Dave Kehr, The New York Times, April 8, 2011
posted on April 11, 2011 by
