Determining film Genre: Explain the Western and Neo-noir cinematic elements
in Taxi Driver (1976).
With its roots in early cinematic styles of 1920’s German expressionism, Film Noir
emerged from Hollywood some 20 years later. Films released throughout 1940's and
50's epitomize the classic era of Hollywood film noir and can be quantified by
distinctive and stylized mis-en-scene. Low-key black and white visuals denoting
sexual incitement and cynicism are central to narratives, while dark, gritty and
unsettling themes depict the decay of American society and a shift in public
consciousness. Following the economic oppression of the 1930’s film noir progressed,
censorship rules began to ease and the graphic realities of America's social climate
were being more freely represented. In his book, Notes on Film Noir (1972) renowned
film writer, academic and author, Paul Schrader wrote about the impact of war and
post war disillusionment:
‘As soon as the war was over... American films became markedly more
sardonic–and there was a boom in the crime film. For fifteen years the
pressure against America’s amelioristic cinema had been building up,
and, given the freedom audiences and artists were now eager to take a
less optimistic view of things’ (Schrader,1972 p.9)
The classic noir film Double Indemnity (1944) tells of Walter Neff, an insurance
salesmen, who becomes involved with morally-corrupted seductress, and is coerced
into murdering her husband. Stylistic elements such as: shadows, obscure lighting and
low lighting create the mysterious and unsettling mood of the noir film. A
contemporary example of film noir (neo-noir) is Martin Scorsese’s film Taxi Driver
(1976). Taxi driver contains stylistic and narrative elements of a noir film but also has
a strong resonation with the western film The Searchers (1956). Taxi Driver has long
been associated with the The Searchers in relation to similarities between main
characters Travis Bickle (Taxi Driver) and Ethan Edwards (The Searchers) Both share
past experiences in war, Anti-hero qualities, loneliness, obsessiveness, and a
pessimistic view of the world.
Taxi driver would usually be categorized as a crime drama or simply a neo-noir. In
this essay I will explain how Taxi Driver comprises an unusual combination of
narrative and stylistic elements such as; characterization, iconography and
Greta Chesterman FAV1111 cinematography to create a western neo-noir film that became one of the most
celebrated films in history.
In the book The Cinema of Martin Scorsese, author Lawrence S. Friedman (1997)
suggests that Taxi Driver (1976) is a modernised version of The Searchers (1955)
Friedman makes reference to the similarities between the central characters of each
film; Travis Bickle and Ethan Edwards. Both characters portray feelings of
malcontent, desperation and loneliness. ‘Travis shares with Edwards the alienation of
a stranger in a strange land.’ (Friedman,1997.p.68) Like Travis, Ethan is a lone
ranger. His loneliness turns psychotic when Indians kill his family and kidnap his
niece Debbie. This event in the plot has strong association with the relationship of
Travis and Iris. Friedman suggests the extent of Travis’s alienation from society; there
are moments in the film where Travis seems to have been born neurotic, then there are
moments when Travis seems sane compared to his community. Yet the society is seen
through Travis’s eyes, undoubtedly a disturbed and desperate individual.
‘It was crucial to Travis Bickle’s Character that he had experienced
life and death around him every second he was in south east Asia'
(Friedman, 1997. p.67)
Travis is an ex marine from the Vietnam war, he doesn’t sleep nights so he “works
long hours sometimes six at night till six, sometimes eight in the morning.”(Phillips &
Scorsese, 1976) After America's war with Vietnam soldiers returned home, and
condition called Post Traumatic Stress Disorder became present among many war
veterans. ‘Anger played a central role in the post war personalities of Vietnam PTSD
veterans’ (McDermott, 2012, p.105) Whether it may just be insomnia or possibly Post
Traumatic stress the aspect of mental illness in the Taxi Driver not only correlates to
Ethan Edwards anger and misery from The Searchers but also enables a sense of
realism in the universal post war affliction of Americas late 70’s.
The stylistics features In Taxi Driver strongly correlate with the classic noir style seen
in Double Indemnity. The renowned writer and scriptwriter of Taxi Driver Paul
Schrader in his essay 'Notes on Film noir' (1972) discusses stylistics of the film noir.
Most scenes incorporate: low lighting, night scenes, a presence of smoke and an
Greta Chesterman FAV1111 emphasis on wet roads. The aspect of artificial lights from cars, shop fronts and street
lamps, depicts the dark ,unnerving ,moody tones found in atypical noir film. The use
of distorted angles seen in the picture below, associates with classic noir style films
and can even be dated back to the german expressionism area seen in films such as
The Cabinet of Dr Calagari (1920). ‘The best noir technicians simply made all the
world a sound stage, directing unnatural and expressionistic lighting onto realistic
settings’ (Schrader, 1972, p.10) Schrader further adds that the grouping of realism and
expressionistic techniques yields a thrilling yet disconcerting result.
The distorted expressionistic angles in between scenes, gives the viewer a sense of
Travis’s tortured state of mind. ‘Insomnia, hysteria, paranoia, homicidal and suicidal
impulses–the scary symptoms of Travis’s encroaching dementia–flourish in the city
he regards as hell’ (Friedman, 1997, p.72)
The symbolism of recurring objects in taxi driver pull strong association to Western
iconography. However revolvers are present in the noir film (Double Indemnity) as
they are in the western film (The Searchers), but, in Taxi Driver Travis’s increasing
fixation on his 44 magnum revolver, along with his costume: cowboy boots, gun
holsters, belt buckle, and check shirts melt the distinction between a rebellious city
slicker and an old school western gunslinger. In contrast to Travis’s weapon
obsession, In Double Indemnity the revolver is seen briefly in one scene, and shot to
kill Walter Neff by femme fatal Phyllis. An exert from the book ‘The film
Experience’ by Timothy Corrigan and Patricia White states. ‘In westerns cowboys
usually travel alone; in crime films, a seductive woman often foils the hard-boiled
detective.’(Corrigan & White, 2012, p.322) Travis’s fixation on his handguns and
aspirations to use them relate more strongly to The Searchers where firearms are
present in the majority of the film. The fundamental features of a film noir are evident
in Taxi Driver, but Travis’s western costume and icons play with the stylistic neo-noir
genre of the film. Throughout cinematic history the revolver has been an American
icon and a symbol of power .It represents the domination and privilege of western
culture. ‘How the west was won.’ (Corrigan & Barry, 2012, p.321) Perhaps Americas
gun culture presents a sense of freedom , or perhaps the love of firearms represents
society’s underlying paranoia.
Greta Chesterman FAV1111 Taxi Driver has noir themes of: murder, tragedy, desperation and isolation however
the film ends on a relatively happy note ,which is not a usually characteristic of film
noir. In Double Indemnity Walter Neff is shot by Phyllis, he recoils to his office to
reflect before tragically dying. Voice over, which is typical in noir films, and is used
in Taxi Driver , gives insight into Travis’s thoughts and feelings of angst for the world
around him.“ Someday a real rain will come and wash all the scum off the streets”.
(Phillips & Scorsese, 1976) ‘Only in his voice-over soliloquies does his pent up rage
boil over.’(Friedman, 1997, p.75) This inner rage described by Friedman becomes
apparent in the plot when Betsy refuses to see Travis. After many phone calls, gifts
and attempts to see her, a cathartic moment occurs when Travis in a fit of rage bursts
into the Betsy’s office, screaming “You think I don’t know !” This moment in the
narrative shows Travis’s shift from a common feeling of loneliness to a psychotic fear
of being alone.
Friedman mentions the narrative similarities between The Searchers and Taxi Driver.
After shooting Sport and his gang of pimps, Travis sends Iris home and drives off into
the night. A similar ending to that of ending The Searchers, Ethan Edwards retrieves
Debbie from the Indians, returns her home and rides off into the distance on his horse.
Travis’s hatred for Sport correlates to Ethan’s hatred for Indians. Friedman suggests
the actions that indirectly save Iris, are an aim to disguise Travis’s disturbing fixation
on killing.
‘What so often distinguishes the American male hero from his ancient
and/or foreign counterpart is his instinctive recourse to violence.
Travis, Like Edwards, Exemplifies the American macho tradition that
takes no prisoners.’ (Friedman, 1997, p.74)
Friedman continues by suggesting the connection between loneliness and violence in
Taxi Driver. The legend of the lone hero who saves his community through acts of
violence is a key narrative component in Taxi Driver and more importantly in the
dominant narrative of American history.
Martin Scorsese’s Taxi Driver (1976) shows the decent of a man who is unconscious
to his own neurotic obsessions. The cinematic elements conclude Western themes in
Greta Chesterman FAV1111 relation to plot and narrative icons. Taxi Driver’s narrative themes are also present in
the dark and unsettling film noir cinematic style. This combination of gun-slinging
mid west themes and edgy low lit noir settings created a whole new genre of film, a
western neo-noir.
Something that the three characters Walter Neff, Travis Bickle, and Ethan Edwards all
have in common is the affirmation of their rebellious anti-hero status. The voyeur’s
interpretation of the characters stirs questions of ones own moral values. While
watching the film I couldn’t but help feel an overwhelming sense of empathy for
Travis’s isolation. I myself have been alone in a big city and had moments when I felt
like the city was metaphorically swallowing me up. However during the course of the
film I was deceived by Travis, what I thought was a common feeling of malcontent,
turned into a state of deluded and psychotic obsessiveness. However the epic sense of
loneliness makes Taxi Driver the universally significant and timeless film it is today.
The cinematic sophistication of Scorsese combined Schrader’s incredible script
writing, produced Taxi driver a film that will be forever remembered as one of the
most highly regarded films in cinema history.
Greta Chesterman FAV1111 Bibliography
•
Friedman, L. S. (1997). The cinema of martin scorsese. New York:
Continuum.
•
Corrigan, T., & Barry, P. (2012). The film experience: An introduction.
Boston, Mass: Bedford/St. Martins.
•
Paul Schrader. (1972). Notes on film noir. New York: Film Society of Lincoln
Center.
•
McDermott, W. F. (2012). Understanding combat related post traumatic
stress disorder. Jefferson: McFarland & Company, Inc., Publishers.
Films
•
Pommer, E., Meinert , R. & Wiene , R. (1920) The Cabinet of Dr. Calagari.
GERMANY: Pommer, E., Meinert , R.
•
Sistrom, J. & Wilder, B. (1944) Double Indemnity. USA: Paramount Pictures.
•
Whitney , V. C. & Ford, J. (1956) The Searchers. USA: Warner Bros.
Entertainment.
•
Phillips, J., Phillips, M. & Scorsese, M. (1976) Taxi Driver. USA: Columbia
pictures
Greta Chesterman FAV1111