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Why does he reach such a conclusion? Director Martin Scorsese does not attempt to explain, but chooses to chronicle, sometimes sympathetically, Travis's descent into violence (or, in his mind, his ascent towards justice). Whatever deeper psychological history lies in Travis's past, we never find out: as the movie...

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

In the tradition of "the quiet guy next door," the closer we get to Travis Bickle, the less we can recognize him as normal. We see him first applying for a job as a cabbie, showing the innocent, boyish humor which will appear later in his awkward pursuit of the...

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

The episodic format of the movie, loosely following Travis's readings from a journal he keeps, allows us to trace not only Travis's actions, but also the world he deals with so poorly. Young and charming, giving no indication of his inner turmoil, De Niro's Travis enters the...

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

It is perhaps this very difficulty in processing the real world with any semblance of understanding that defines Travis's state: he cannot perceive reality beyond a basic conflict between a common man/hero in the evil world he must inhabit. Accordingly, the sight of a thirteen-year-old prostitute (Jodie...

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

Populating this world are memorable characters, played by an excellent cast. Robert De Niro's Travis by turns charms, mesmerizes and shocks the viewer. His performance includes the now-famous monologue to the camera ("Are you talkin' to me?"), said to have been improvised. A young Jodie Foster contributes a...

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

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