Word: taxi
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Dates: during 1970-1979
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Listen. Between the clicks of the taxi meter and quiet complaint of a car engine, the residual hum of music made by machines reminds you that you went to 15 Lansdowne Street, danced, drank, had a dashing good time. The hum is softer than anything you will hear
...Brattle Cab Company taxi burst into flames last night at 8 p.m. on Mass Ave. directly behind Straus Hall, filling the Square with black smoke...
...critic's review of Martin Scorcese's new film, Taxi Driver, so galvanized us that we rushed out toward the Cheri II to see it. Unfortunately our taxi driver had a flat (which we fixed) and then another. Having heard about DeNiro's violent tendencies in the movie, we paid his real-life counterpart anyway. By all means, go, but take the subway...
Travis tries desperately to make some sort of contact with the world, but he is systematically rebuffed. The macadam mob--taxi-dispatchers, hookers, pornographic movie-house vendors--looks at him with sullen, suspicious eyes. The claustrophobic routinization of their lives, the daily bombardment of the senses, has forced them into the defensive position of "cool". They are wary, detached from their experience; some adopt swaggering, arrogant personae, others merely become dead to the world--all of them are irreversibly divorced from their emotions...
...final moments of Taxi Driver constitute one of those endings too good too spoil. Intellectually it's a trifle slick, a sort of cinematic illustration of the old Rolling Stones lyric about "just as every cop is a criminal and all the sinners saints..." But if Scorsese teases us through the body of the movie with latent violence, he more than compensates for it in the final shootout--a rapid, graphic sequence of knives, bullets and blood, followed by a perversely loving, achingly detailed pan over the scene of the massacre. In this and in the epilogue, Scorsese achieves...