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Andy K (10823 KP) created a poll
Mar 4, 2019
BankofMarquis (1832 KP) rated Taxi Driver (1976) in Movies
Sep 10, 2020
Perfect blend of Director, Star and Place
Dark, dirty, rainy, dangerous, foggy, grimy, glorious - all words that would describe New York City in the late 1960's/early 1970's.
They are also words that would describe Martin Scorcese's 1976 film, TAXI DRIVER starring Robert DeNiro (fresh off his Oscar win for Godfather II) in another Oscar nominated performance.
This film is a perfect blend of Director, star and material. These 3 elements come together to blend a vivid portrayal of an outsider/loner observing the decay of the city he loves, finally culminating in his desire to correct some of the wrongs.
I still don't know if I'm talking about Travis Bickle, the character DeNiro is playing, or of Director Scorcese.
DeNiro is powerful in his portrayal of the titular Taxi Driver, Travis Bickle. He subtly underplays the character - especially at the beginning - showing a lost soul wandering the big city. Slowly, this character begins to gain his footing - and that footing is terrifying in the violence that is welling up in him. He has no social attachments - and the 2 that he attempts to gain during the course of this film slips through his grasp the harder he tries to clutch them.
Jodie Foster was Oscar nominated for her turn as 13 year old street walker Iris. It is a stunningly strong performance by an young actress who heretofore was known only for lighthearted "Disney-type" films and shows the strength of character and performer that Foster would become. Albert Brooks and Peter Boyle pop up in this film in somewhat comic-relief roles. Roles that are a needed, and welcome, change of pace for this film. As opposed to Harvey Keitel as "Sport" the pimp of Foster's character. You can sense that he is just as dangerous as Bickle and if these two were to go up against each other, violence is going to erupt.
The surprise of this movie for me was the performance of Cybill Shepherd as Betsy, the object of Travis' desire. She brings a power and grace to her role that is extremely attractive to watch. You are drawn to Betsy and can understand how Travis is drawn to her as well.
But, make no mistake, this is Scorcese's film. He captures the feel of New York City of this time. This film is mostly mood and atmosphere - and that is a good thing. You get the sense that you are there. This film is a time capsule of the "Mean Streets" times of NYC - and shows a Director that knows this city and knows how he wants to show it on film. I was shocked to find out that Scorcese was NOT nominated for an Oscar for his work here, it is that good.
I also was surprised to find that the great Bernard Herrmann (Citizen Kane, Psycho, Vertigo) was the Composer of the film - and he is a great choice. His music perfectly matches - and enhances - the mood that is set up by Scorcese. This film would not be as atmospheric - or would capture the vibe of the time - without Herrmann's score. Unfortunately, Herrmann would pass away shortly after completing his work on this film, so his Oscar nomination was posthumous.
A wonderful blend of character, place and mood. Taxi Driver is timeless because it is about a specific time.
Letter Grade: A
9 stars (out of 10) - and you can take that to the Bank(ofMarquis)
They are also words that would describe Martin Scorcese's 1976 film, TAXI DRIVER starring Robert DeNiro (fresh off his Oscar win for Godfather II) in another Oscar nominated performance.
This film is a perfect blend of Director, star and material. These 3 elements come together to blend a vivid portrayal of an outsider/loner observing the decay of the city he loves, finally culminating in his desire to correct some of the wrongs.
I still don't know if I'm talking about Travis Bickle, the character DeNiro is playing, or of Director Scorcese.
DeNiro is powerful in his portrayal of the titular Taxi Driver, Travis Bickle. He subtly underplays the character - especially at the beginning - showing a lost soul wandering the big city. Slowly, this character begins to gain his footing - and that footing is terrifying in the violence that is welling up in him. He has no social attachments - and the 2 that he attempts to gain during the course of this film slips through his grasp the harder he tries to clutch them.
Jodie Foster was Oscar nominated for her turn as 13 year old street walker Iris. It is a stunningly strong performance by an young actress who heretofore was known only for lighthearted "Disney-type" films and shows the strength of character and performer that Foster would become. Albert Brooks and Peter Boyle pop up in this film in somewhat comic-relief roles. Roles that are a needed, and welcome, change of pace for this film. As opposed to Harvey Keitel as "Sport" the pimp of Foster's character. You can sense that he is just as dangerous as Bickle and if these two were to go up against each other, violence is going to erupt.
The surprise of this movie for me was the performance of Cybill Shepherd as Betsy, the object of Travis' desire. She brings a power and grace to her role that is extremely attractive to watch. You are drawn to Betsy and can understand how Travis is drawn to her as well.
But, make no mistake, this is Scorcese's film. He captures the feel of New York City of this time. This film is mostly mood and atmosphere - and that is a good thing. You get the sense that you are there. This film is a time capsule of the "Mean Streets" times of NYC - and shows a Director that knows this city and knows how he wants to show it on film. I was shocked to find out that Scorcese was NOT nominated for an Oscar for his work here, it is that good.
I also was surprised to find that the great Bernard Herrmann (Citizen Kane, Psycho, Vertigo) was the Composer of the film - and he is a great choice. His music perfectly matches - and enhances - the mood that is set up by Scorcese. This film would not be as atmospheric - or would capture the vibe of the time - without Herrmann's score. Unfortunately, Herrmann would pass away shortly after completing his work on this film, so his Oscar nomination was posthumous.
A wonderful blend of character, place and mood. Taxi Driver is timeless because it is about a specific time.
Letter Grade: A
9 stars (out of 10) - and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated The Irishman (2019) in Movies
Nov 30, 2019
Delivers What Is Expected
Like eating comfort food on a cold, wintery day, sitting down to catch the latest Scorsese/DeNiro mob movie filled me with a warmth that was satisfying for it's familiarity. It is a film landscape mined by professionals who know this genre of movie well.
There is a terrific film in this 3 1/2 hour epic - if only "Marty" would have trimmed the fat to find it.
Telling the real-life story (with some conjecture and fabrications), THE IRISHMAN tells the tale of...well...Irishman Frank Sheeran (Robert DeNiro) a working stiff who rises in the ranks of mobster Russell Buffalino (Joe Pesci) to be one of his chief enforcers and the personal bodyguard to Jimmy Hoffa (Al Paciino).
In the lead, DeNiro commands the screen like the DeNiro of old. His Frank Sheeran is menacing, razor-focused on his objectives. You never question Frank's loyalties and his ability to keep silent. DeNiro shows this by be being silent for a good part of this film, even though he is on screen for most of it. He is a commanding force that requires that we pay attention to him.
It was good to see Pesci back onscreen as Russell Buffalino. His mob boss is pragmatic, making decisions sternly and expecting his people to follow them, no questions asked. His presence on the screen is almost as commanding as DeNiro's and I wouldn't be surprised to see DeNiro (Best Actor) and Pesci (Best Supporting Actor) be in the mix come Oscar time.
In lesser, (almost cameo), roles - but faring very well - is a "who's who" of character actors, Harvey Keitel (who I would have LOVED to have seen much, much more in this film), Ray Romano, Bobby Canavale, Jesse Pleimens and Anna Paquin, I'm sure all jumped at the chance to appear - however briefly - in a Scorsese mob epic.
Faring less well in this film is Al Pacio as Jimmy Hoffa. He is back to his "yelling Al Pacino" ways of films like SCENT OF A WOMAN. His Hoffa is pretty one note and, consequently, his scenes with DeNiro are ineffective mostly because Pacino is chewing up the scenery (and yelling) while DeNiro is sitting silent and staring and listening to Pacino. This was a major disappointment for me, but (fortunately), Hoffa is in only about 1/3 of this long film, so while it hampered my enjoyment of the film, it didn't ruin it.
Credit (and blame) for all of this goes to master Director Martin Scorsese who has mined these waters more successfully in CASINO, THE DEPARTED and GOODFELLAS (his best film, IMO). This film is a loving pastiche to these types of films and a bygone era - and he chose to make it for NETFLIX for he wanted to make a sprawling epic and take his time in telling the story he wanted to tell. This is evidenced in the 3 1/2 hour length of this film, which if filled with long tracking shots set to a backdrop of Italian crooners singing old standards. It's a throwback to a different time and place, one that these players know well.
Scorsese has stated the he only decided to make this film because the "de-aging" software the he used to make DeNiro and Pesci look 30 years younger was "good enough" to use. And I would agree with that statement. The de-aging of these 2 (and others) is "good enough", in some scenes I forgot I was watching a de-aged DeNiro and Pesci, while in some other scenes, I could spot the trick. Again, it was "good enough" and not distracting (unless you were looking to make it distracting, then you probably found what you were looking for).
But for me - a fan of these types of films, I was not disappointed. It was about what I expected it to be. If you were looking for something different and new, look elsewhere, you will be disappointed.
Letter Grade: B+
8 stars (out of 10) and you can take that to the Bank(OfMarquis)
There is a terrific film in this 3 1/2 hour epic - if only "Marty" would have trimmed the fat to find it.
Telling the real-life story (with some conjecture and fabrications), THE IRISHMAN tells the tale of...well...Irishman Frank Sheeran (Robert DeNiro) a working stiff who rises in the ranks of mobster Russell Buffalino (Joe Pesci) to be one of his chief enforcers and the personal bodyguard to Jimmy Hoffa (Al Paciino).
In the lead, DeNiro commands the screen like the DeNiro of old. His Frank Sheeran is menacing, razor-focused on his objectives. You never question Frank's loyalties and his ability to keep silent. DeNiro shows this by be being silent for a good part of this film, even though he is on screen for most of it. He is a commanding force that requires that we pay attention to him.
It was good to see Pesci back onscreen as Russell Buffalino. His mob boss is pragmatic, making decisions sternly and expecting his people to follow them, no questions asked. His presence on the screen is almost as commanding as DeNiro's and I wouldn't be surprised to see DeNiro (Best Actor) and Pesci (Best Supporting Actor) be in the mix come Oscar time.
In lesser, (almost cameo), roles - but faring very well - is a "who's who" of character actors, Harvey Keitel (who I would have LOVED to have seen much, much more in this film), Ray Romano, Bobby Canavale, Jesse Pleimens and Anna Paquin, I'm sure all jumped at the chance to appear - however briefly - in a Scorsese mob epic.
Faring less well in this film is Al Pacio as Jimmy Hoffa. He is back to his "yelling Al Pacino" ways of films like SCENT OF A WOMAN. His Hoffa is pretty one note and, consequently, his scenes with DeNiro are ineffective mostly because Pacino is chewing up the scenery (and yelling) while DeNiro is sitting silent and staring and listening to Pacino. This was a major disappointment for me, but (fortunately), Hoffa is in only about 1/3 of this long film, so while it hampered my enjoyment of the film, it didn't ruin it.
Credit (and blame) for all of this goes to master Director Martin Scorsese who has mined these waters more successfully in CASINO, THE DEPARTED and GOODFELLAS (his best film, IMO). This film is a loving pastiche to these types of films and a bygone era - and he chose to make it for NETFLIX for he wanted to make a sprawling epic and take his time in telling the story he wanted to tell. This is evidenced in the 3 1/2 hour length of this film, which if filled with long tracking shots set to a backdrop of Italian crooners singing old standards. It's a throwback to a different time and place, one that these players know well.
Scorsese has stated the he only decided to make this film because the "de-aging" software the he used to make DeNiro and Pesci look 30 years younger was "good enough" to use. And I would agree with that statement. The de-aging of these 2 (and others) is "good enough", in some scenes I forgot I was watching a de-aged DeNiro and Pesci, while in some other scenes, I could spot the trick. Again, it was "good enough" and not distracting (unless you were looking to make it distracting, then you probably found what you were looking for).
But for me - a fan of these types of films, I was not disappointed. It was about what I expected it to be. If you were looking for something different and new, look elsewhere, you will be disappointed.
Letter Grade: B+
8 stars (out of 10) and you can take that to the Bank(OfMarquis)