Biggus
Posts: 7611
Joined: 2/10/2005
From: Not Local
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Life is full of difficult 'which is better?' scenarios. The Beatles or The Stones? Ferrari or Porsche? Salt or sweet? Kylie or Dannii? One eternal musing that often surfaces in the world of cinema concerns the greatest performance of Robert DeNiro. Following much debate, the choices are always whittled down to two clear standouts; Travis Bickle and Jake LaMotta. It's a difficult one to call but one thing that is certainly clear; Travis Bickle is the more unique of the two, possibly more so than ANY performance on film.
DeNiro is renowned for on-screen intensity (a reputation that is in no way harmed by his distant and sometimes spiky off-screen persona) but in the case of Bickle, this is superbly underpinned by innocence, charm and (whisper it) sweetness. It is the unstable swaying to and fro from each of these traits that characterises Bickle. He is, by turns, a funny, repulsive, lovable, racist, charming, insecure dreamer with a pill habit.
There can be templates identified within DeNiro's other great film incarnations i.e. Johnny Boy is fantastically anarchic but we've seen the self-destructive wide-boy elsewhere. Vito Corleone – we've seen steely determination and composure too. And of Jake LaMotta – A truly terrifying and incredibly defined performance but bully boys with an inferiority complex are no stranger to the film world. As for Bickle, he's doesn't seem to have any discernible cinematic blueprint nor has he inspired a host of cheap imitations in the years following Taxi Driver's release. He stands alone in the media of film much as he does in his own fictional existence. The performance itself is flawless. The consummate method actor, DeNiro is as wrapped up in Bickle as Bickle is in his own secluded existence. It is nigh on impossible to imagine how any other actor around (that includes you Pacino!) could have been as effective (or you Hoffman!). It is also often overlooked just how FUNNY DeNiro is as Bickle. This is something that becomes more apparent with repeated viewings (much like finding that mate, who at first you thought was a complete idiot, you now find hilarious). The greatest example of this underplayed humour is the conversation between Bickle and the Secret Service agent at a political rally. The exchange between the two is exquisitely played out by DeNiro, infusing Bickle with a lovable instability.
It's easy for DeNiro to walk away the hero here (on and off-screen) but Taxi Driver also warrants just as much praise for its director Martin Scorsese. Similarly to Mean Streets (his previous excursion into New York's underbelly) Scorsese paints the Big Apple by night with a sleazy red glow that perfectly compliments the film's junkie-filled, whore-ridden red-light settings and seems intent on inflicting the constant headaches and nausea suffered by Bickle on the audience as well. Aside from the red, Scorsese goes pretty much for primary colours for the night-time scenes but, by contrast, day scenes are filmed with little to no lighting effects, opting for complete naturalism broken up with slo-mo shots to compliment Bickle's fantasies and stuttering editing to convey his fractured state of mind. For the most part, all of Scorsese's trademarks can be found here. The aforementioned slo-mo & snappy editing alongside the uncompromising violence are all present and correct but one aspect usually so prominent within a Scorsese film is absent; the use of a contemporary soundtrack. Mean Streets in very notable for this trait along with later efforts such as Goodfellas, Casino and most recently, The Departed yet in Taxi Driver popular music is replaced with a jazzy score by legendary film composer Bernard Hermann. The film opens with a floaty refrain that reflects Bickle's loneliness but also his romantic aspirations and good intentions. This refrain then descends into a stuttering, menacing break that conveys Bickle's anger and frustration with the world around him. In fact the only noticeable contemporary song during the film is Jackson Browne's 'Late for the Sky' which happens to be playing while Bickle's quietly seething racism is invoked by a TV show. The use of a traditional musical score rather than a popular music soundtrack is a glaring reflection of how out of step Bickle is with the society and culture around him. Scorsese's artistic choices for Taxi Driver are spot on. I suppose it's just a bonus that he himself delivers just about the greatest cameo ever as a deranged passenger of Bickle's, contemplating how he's going to kill his wife. This, coupled with the use of Bernard Hermann as composer, means parallels with Hitchcock will undoubtedly be drawn. The film's climax involving bloody carnage and (supposed) redemption for Bickle is Scorsese at his visceral best. The shot of Bickle mimicking shooting himself in the head as blood drips from his finger is one of the most striking images you're likely to experience. As the camera trawls though the wake of Bickle's fury, we're taken past blood-soaked walls and floors. It's almost as if, through Bickle's actions, the red haze that pollutes his world and fuels his disillusionment has finally taken a form that can be washed away.
DeNiro understandably dominates the film and features in almost every scene but is given able support throughout. Cybill Shepherd plays Betsy, initially the object of Travis' affection. Her initial intrigue and subsequent repulsion by Bickle (being taken on a date to a porn theatre tends to have that effect) is played well by Shepherd. The late Peter Boyle is well-cast and provides some heart to the film as fellow cabbie Wizard. Ultimately his comforting words of wisdom to a stressed and frustrated Bickle turn out to be possibly the most shallow advice ever given. "That's just about the dumbest thing I ever heard.” One of the most memorable of the minor characters in the film is gun salesman Easy Andy. This delightfully slippery performance comes courtesy of Scorsese's friend and real-life arms dealer Steven Prince. Prince is extremely convincing and perfectly fits the character who sells guns and drugs with all the manner and slick confidence of a used-car salesman. Jodie Foster's controversial casting as 12 year old prostitute Iris was judged perfectly and Foster delivers a performance that brings a reality to her situation and makes Bickle's quest to 'rescue' her from her current existence a believable one. Originally Harvey Keitel was set to play the role of Tom, Betsy's fellow campaign worker. Thankfully Keitel saw more potential in the role of the Iris' pimp and requested that he be given this part. (The role of Tom was largely a thankless part and was played by comedian Albert Brooks) Keitel's wish was granted and his turn as the despicable pimp, Sport, is something of a revelation. Donning a hippy wig and garish 70s garb, Keitel is virtually unrecognisable in the role (in all honesty, I didn't even realise it was him on first viewing until the end credits rolled). He expertly brings the seedy dominance of the character to life, none more so than in a scene where, following her breakfast with Bickle, Iris is despairing over her forced profession. The scene culminates in Sport dancing with Iris and whispering literal sweet nothings into her ear to reassure her. It's a relatively small role for Keitel, but he leaves a considerable mark, in spite of playing opposite a top-of-his-game DeNiro. His improvised exchange with DeNiro ("Buddy, you don't look hip!”) on the sidewalk is superbly played out and Sport completely symbolises all that Bickle hates and therefore is doomed to fall in the way of Bickle's subsequent path of destruction.
When trying to draw a conclusion on the brilliance of Taxi Driver, the term 'unique' is not always the most powerful superlative but, used in the positive, it perfectly describes DeNiro's performance and Scorsese's direction for this film. In going back to the original question, if I had to choose a more accomplished DeNiro performance between Bickle and LaMotta?
LaMotta… cannot… touch… Bickle.
< Message edited by Biggus -- 10/7/2011 12:03:35 AM >
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