Film och skript
Här är Diner-scenen (du ser de två runt 1:38 min):
IPaulSchradersoriginalskriptbeskrivsdinersceneniscenerna17till23(104sidversionenpålc.nc.edu.twbeskriverdenpås.16f.)ochhärärintroduktionen:
391.133SådethäräratmosfärensomSchradervillefånga.Scorseseföljeristorutsträckning,menhanavvikerprecisdär.ISchrader'sscriptstirrarTravispåhippies,intetvåpimps*.
Bakgrundsinformation
TriciaRosebeskriverpimpssåhäriHipHopWarsikapitel8:
ONE OF THE SIGNATURE ICONS that drives commercial hip hop is the pimp. An important facet of urban street cultures and illicit economies, and once relegated to folklore, underground vernacular culture, and the margins of mainstream society, pimps have become popularized and mainstreamed. Building on the glamorization of black pimp culture in blaxpoitation films of the 1970s and on the influence of raw sexual hierarchies exported from prison culture, many rappers began drawing from pimp culture, style, slang, and attitude as part of their identities.
Denstereotypapimpvisaruppsinnyarikedom,baseratpåprostitution,påettextremtsätt.VadRosebeskriverkansesi50Cent2003singe"P.I.M.P." från Get Rich eller Die Tryin ':
Tolkning
Ien2016 artikel för IndieWire, Nick Santos samlade citat av Quentin Tarantino om taxichaufför:
“One of the criticisms that was labeled against the movie when it first came out – which was wrong, but very understandable for a lot of viewers to mistake – was that the film was racist. And actually the film is not racist at all, but it is a movie about a racist. Not only is the film about a racist, it’s [also] a first person study of a movie about a racist.
So actually, you do see the world through Travis Bickle’s eyes. And through those eyes, he makes, you know, the black pimps and the black characters on the street, they are repellant. He flinches away from them at all times. And since you are looking through his eyes, you do as well. One of things that actually could be crippling from the movie, thematically, you could even say it’s the film’s big flaw. Which, actually, by the end of the movie, doesn’t turn out to be.”
Cynthis Fuchs i hennes analys av taxichauffören på sid. 704 av Filmanalys :
From Travis's point of view, which becomes increasingly disturbed and constricted, anyone who looks "different" makes him uneasy.
I sin analys av den här scenen skriver Axel Debenham-Lendon:
The real notion of Travis’ racism come shortly after as the camera begins moving camera rising above a hunched over Travis anxiously glancing to the other side of the room. We cut to shot 8 dollying past a pair of pimps, Doughboy’s voice becomes slightly distant as Travis zones out, a pan back with shot 9 signals his return to the conversation. The racial implications are secondary to the visual effect as Scorsese uses this movement coupled with the sound to give the audience the impression of entering Travis’ subjective mental state.
Roger Ebert i sin 2004 recension , om Scorseses användning av slowmotion:
But Scorsese was finding a personal use for it, a way to suggest a subjective state in a POV shot. And in scenes in a cab driver's diner, he uses closeups of observed details to show how Travis's attention is apart from the conversation, is zeroing in on a black who might be a pimp.
Slutsats
De är förmodligen pimps och visar inte bara korruptionen och sönderfallet Travis ser varje dag. I Schraders ursprungliga manuskript som var deras enda roll, nämndes i början bara. Men Scorsese fokuserar på dem och låter oss komma in i Traviss sinne när han stirrar på dem och glömmer för det ögonblicket allt omkring honom.
p. 20: "Travis" ögon vänder sig mot restaurangens andra beskyddare. POV: Tre Street People sitter vid ett bord. En snubbe, stenad, stirrar rakt framåt. En snyggt attraktiv flicka vila huvudet på axeln på den andra, en tung skäggig ung man med ett huvudband. De kyssar och retar vardera andra, tillfälligt förlorade i sin separata värld. Travis ser på hippieparet, hans känsla skarpt fördelat mellan kulturella förakt och moros avundsjuka. Varför ska dessa människor njuta av kärlek och intimitet som har alltid eluded honom? Han måste njuta av dessa schizoida känslor, för att hans ögon bor på paret. "