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Word: travises (lookup in dictionary) (lookup stats)
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To illustrate the under-world of Travis's mind and daily life, Scorsese relies on these fine performances by the well-chosen cast, as well as striking camera techniques that might seem bizarre or affected if they didn't match exactly the disturbing paths of Travis's dead-end thoughts...

Author: By Nicholas R. Rapold, | Title: Yeah, We're Still Lookin' at DeNiro | 2/15/1996 | See Source »

In one scene, Travis's cab emerges on to the screen from a Dantean burst of steam like a metallic beast as Bernard Herrman's eerie score beats to a crescendo. A close-up of Travis's wide-open eyes reflects the gaudy neon lights of 42nd Street porn shops...

Author: By Nicholas R. Rapold, | Title: Yeah, We're Still Lookin' at DeNiro | 2/15/1996 | See Source »

Thereafter, the camera work serves to highlight both the flesh-for-money world Travis lives in and the pathetic madness of the cabbie himself. Several overhead shots of tables as hands exchange money and purchases emphasize the vacuum of this world. At several points, the camera speed is subtly slowed...

Author: By Nicholas R. Rapold, | Title: Yeah, We're Still Lookin' at DeNiro | 2/15/1996 | See Source »

According to Scorsese, the key sequence in the film occurs as Travis makes a pitiful phone call to Betsy after the disastrous outing to the porn flick. The camera pans away from Travis on the phone to a shot of an empty hallway, even as he continues his largely one...

Author: By Nicholas R. Rapold, | Title: Yeah, We're Still Lookin' at DeNiro | 2/15/1996 | See Source »

Other memorable scenes include a lingering close-up of an Alka-Seltzer being dropped into a glass. As the visual of the fiercely effervescing water and the audio of fizzing (seemingly increased in volume) fill the senses, we can feel the inwardly-turned desperation of Travis's existence, shutting out...

Author: By Nicholas R. Rapold, | Title: Yeah, We're Still Lookin' at DeNiro | 2/15/1996 | See Source »

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