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I am inaugurating a series on Classics of Right-Wing Cinema with Martin Scorsese’s 1976 masterpiece Taxi Driver. For the purposes of this series, what makes a film “Right-wing” is its subject matter, its message, or simply how it resonates with people on the Right, regardless of the filmmaker’s intent. Please feel free to nominate films for this series in the comments below.

It began with Dylann Roof. Since then, the Molotov cocktail of autism, inceldom (involuntary celibacy), gallantry, vengeance, and mass murder has exploded with such regularity that I keep dusting off a boilerplate article to condemn it whenever the perpetrators are connected with White Nationalism. But even with Roof’s case, I felt that I had seen this all before. Then I remembered where: Taxi Driver.

Taxi Driver is Martin Scorsese’s breakout film and remains one of his greatest achievements, alongside Raging Bull, Goodfellas, and Gangs of New York. Taxi Driver is an unforgettable portrait of Travis Bickle, an alienated loner in an urban hellscape who decides to die in a hail of bullets and thus seeks out opportunities to dispense vigilante justice. Despite his best efforts, however, Travis accidentally survives and is hailed as a hero for rescuing a child prostitute from a pimp.

Any movie involving vigilantism is inherently anti-liberal, which makes it objectively Right-wing, regardless of the vigilante’s or the director’s intentions. Liberalism is the idea that we can be governed by laws, not men. Vigilantism takes place when the legal system breaks down and citizens feel the need to take action themselves. But Taxi Driver is even more Right-wing today because this is the age of the Alt-Right and incel spree killer.

Taxi Driver fuses urban grittiness and emotional power with daring avant-garde cinematic techniques. Even though it was made on a shoestring budget, everything about this film is first-rate: the script by Paul Schrader (who went on to write and direct Mishima); the performances, especially Robert DeNiro as Travis Bickle and Jodie Foster as Iris, a twelve-year-old prostitute; the cinematography of Michael Chapman; and the lyrical but also menacing musical score by Bernard Herrmann (his last, before dying of a heart-attack, aged sixty-four).

Taxi Driver was a commercial and critical success. It won the Palme d’Or in Cannes in 1976, as well as many other nominations and awards. Taxi Driver is also regularly featured on critics’ “best” lists.

So who is Travis Bickle? Travis Bickle is a twenty-six-year-old honorably discharged Marine from someplace where they wear cowboy clothes. He has drifted away from home and family to New York City at its low-point in the sleazy seventies: corrupt, crime-ridden, teetering on the brink of bankruptcy, and swarming with rats, junkies, pimps, hookers, and other vermin. Taxi Driver was shot during the heatwave of 1975. You can practically feel it. There was a sanitation strike. You can practically smell it.

Travis suffers from insomnia. And we know from Fight Club how crazy lack of sleep can make you. His insomnia might have something to do with his diet of junk food and steady consumption of alcohol from paper bags and flasks. He also pops pills from prescription bottles. We don’t know if they are uppers, downers, or anti-psychotics.

To while away his sleepless nights, Travis has been hanging out at porn theaters and all-night diners, but at the beginning of the film, he takes a job driving a cab. He is looking for long, exhausting, draining hours, so he can finally sleep.

Travis is also desperately lonely: “Loneliness has followed me my whole life, everywhere. . . . I’m God’s lonely man.” He tries to connect with his fellow cabbies. But, being on the night-shift, they are almost as weird and asocial as he is.

One day, Travis becomes infatuated with Betsy (Cybill Shepherd), a campaign worker for Senator Charles Palantine, who is running in his party’s presidential primary. (His party is not stated, but he’s clearly supposed to be a Democrat.) Betsy is beautiful. Travis believes she is lonely too. After watching her for a while, he walks into the office and asks her on a date. Betsy accepts. Travis is strange, but he’s not bad-looking and has an off-kilter charisma.

Travis blows it on their second date, however, when he takes her to a pornographic movie. It is painfully awkward. After that, he is reduced to increasingly desperate stalking behavior. He is convinced that Betsy needs saving from her lonely, hellish existence, and he becomes increasingly indignant that she does not want to be saved.

The choice to take Betsy to a dirty movie makes it abundantly clear that Travis has issues. It is not socially appropriate.

Travis spends too much time alone. He broods and ruminates. He tells Wizard, one of his fellow drivers played by Peter Boyle, “I got some bad ideas in my head.” Travis does not, however, come off as delusional. Instead, he is angry at the sleaze and injustice that surround him: “All the animals come out at night. Whores, skunk pussies, buggers, queens, fairies, dopers, junkies. Sick, venal. Someday a real rain will come and wash this scum off the streets.” He becomes increasingly vengeful. He starts thinking that maybe he will be that rain, a hard rain.

One wonders, though, why Travis continues to subject himself to this world. Not every city is as dystopian as New York. He could also focus on better neighborhoods and better fares. But he doesn’t. The truth is that Travis is a glutton for punishment. He has a masochistic, self-defeating personality.

Travis does not fantasize about making the world a better place for himself. He doesn’t feel he has a future. Instead, he fantasizes about dying honorably. He is what I call an “honorable defeatist.” He feels doomed to failure, so to salvage some sense of agency and worth, he wants to take control of the process and destroy himself over a matter of principle.

When I first saw Taxi Driver, I assumed Travis suffered from post-traumatic stress from his time in the Marines. Perhaps he saw action in Vietnam. But there is no mention of serving in Vietnam. There are no flashbacks. Also, Travis lies to his parents and then to Iris, saying he is doing secret work for the government. Maybe he was lying about the Marines too.

Today, I look at Travis and see someone on the autism spectrum who is also an incel. He does not present as a schizophrenic, like John Hinckley, Jr., who was inspired by Taxi Driver to shoot President Reagan, or like mass shooters Jared Loughner and James Holmes. Instead, he seems a lot like Dylann Roof, Patrick Crusius, Brenton Tarrant, and John Earnest: all ideologically motivated honorable defeatists.

Betsy isn’t the only object of Travis’ gallantry. He also wants to rescue Iris, a twelve-year-old prostitute from a pimp played by Harvey Keitel. Originally, the pimp was supposed to be black. There are plenty of black pimps on the streets in Taxi Driver. But Schrader thought it might be somehow “racist” to cast a black actor in this particular role. It is not clear why it was not “anti-Semitic” to cast Keitel though.

When his relationship with Betsy goes south, Travis buys some guns and learns to use them. He begins dieting and exercising. He is training for some sort of confrontation with evil. He is not planning on surviving. He enjoys the sense of purpose. He may even enjoy some sleep.

Is Travis a psycho or a hero? A case can be made for both.

Travis is gallant. He is a knight, a warrior. It is manly and noble to protect weaker people, especially women and children, from evil. It is also the height of nobility to be concerned solely with doing one’s duty, regardless of personal consequences. Whether Travis was really in the Marines or not, he prefers death to dishonor. He will do the right thing, even if it kills him.

So how is Travis a psycho?

Travis’s first target is Senator Charles Palantine. Why shoot Palantine? Travis doesn’t really care about politics. He has no strong feelings about the candidate or the issues. He was ready to vote for Palantine when he was infatuated with Betsy. Now that she has dumped him, he wants to kill Palantine. Travis originally wanted to help Betsy. It is not clear how killing Palantine would do that. Maybe he is trying to hurt her. But he’s just a political candidate. How much emotional investment does Travis think she has in him?

Perhaps, then, Travis’ purpose is not connected to Betsy. Palantine has a Secret Service detail. If Travis shoots Palantine and exchanges fire with the Secret Service, he will probably be killed. That’s his real goal.

Travis can also count on the fact that by killing a political candidate, he will be famous. He won’t be around for a trial, so people will speculate about his motives. Some will construct accounts of his crime that cast him in a noble light. In short, Travis is a pathological narcissist. He’s another Herostratus, who burned the temple of Artemis in Ephesus so we would talk about him today.

The problem with Travis is not that he is willing to die to do the right thing. The problem is that his primary goal is to die, for which he is willing to do anything, even wrong or stupid things. Disaster is averted when Travis is spooked by Palantine’s Secret Service detail and runs away.

Travis’ next mission is to rescue Iris from her pimp. This is Taxi Driver’s intense and unforgettable climax. The whole sequence is an orgy of violence. But it is not clean and stylized violence. People don’t just die neatly after one shot. They suffer bloody wounds, scream and curse, then return fire. Travis is shot twice. He drops his first gun then empties three others to kill the pimp and a couple of goons, and still has to pull a knife on one of them anyway. Killing is hard, dirty, dangerous work. People just don’t want to die. Then, when his enemies are dispatched, Travis puts a gun to his head and finds it empty. Another gun is empty as well. Finally, the police arrive, standing in the doorway, stunned at the carnage. Travis pantomimes blowing his brains out with his finger than passes out from blood loss.

At this point, we see the whole abattoir from above. Scorsese and Chapman actually tore the ceiling out of the apartment and hallway and built a track allowing the camera to retrace the path of the carnage from above, as if we are seeing it from the eyes of Travis’ departing ghost.

The only thing that saves the scene from being a pure exercise in nihilistic aestheticism is Bernard Herrmann’s music. To a funeral drum, we hear the dissonant trumpet motive associated with Travis’ bad thoughts amidst swirling harp arpeggios that sound like the dissolution of the flesh. Then we hear the romantic saxophone theme associated with Travis’ gallantry dissonantly played on trumpets and low brass. Darkness has finally consumed him.

The scene was so shocking that Scorsese had to desaturate the film stock, toning down the blood, to secure an R rather than an X rating.

In the epilogue, we learn that Travis survived. When he wakes up from a coma, he is hailed as a hero for saving Iris. The world didn’t know that Iris’ rescue was just the accidental side-effect of a failed suicide attempt.

Travis goes back to driving a cab. Does he want to live after all?

One night, Betsy gets into his cab. She has heard about Travis’ heroism, and her disgust has clearly been replaced with admiration. But after Travis drops off Betsy, he is suddenly agitated by something he sees in the rear-view mirror, accompanied by a “sting” from the orchestra that sounds uncanny because it is played backwards.

It’s only a matter of time before Travis Bickle goes off again.

ORDER IT NOW

It is interesting to read the critical responses to Taxi Driver. The movie is a masterpiece and deserved praise regardless of whether you think Travis is a hero or a psycho or a little bit of both. Oddly enough, though, Travis himself was regarded with a great deal of sympathy.

The seventies were the decade of the anti-hero. The organs of the culture were by then firmly in the hands of the hostile elite. Thus the instinct of the critical mainstream was to weaponize anti-heroes like Bickle against the establishment, meaning against mainstream America. There was surely some hand-rubbing on both coasts when Reagan was shot by a wannabe Travis Bickle.

Today, the hostile elite is fully in control. They are the establishment. They want to hold on to their power. Thus they live in terror of Travis Bickles like Brenton Tarrant and Dylann Roof. Hence the cultural organs pushed back hard against Todd Phillips’ Joker, which owes a great deal to both Taxi Driver and Scorsese’s later DeNiro vehicle The King of Comedy.

Now that the Great Replacement is turning millions of young white men into Travis Bickles, a sympathetic portrayal of a white man turning into a murderous vigilante was deemed bad art. Joker was a dud, but Taxi Driver remains as explosive as ever. Thus it is a classic of Right-wing cinema.

 
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  1. VaDa says:

    Thanks for your fine review; a great movie, one I’ve seen several times. One comment about the topic of Travis not serving in Vietnam. A Viet Cong flag can be seen hanging in the background of his apartment and, in his confrontation with Betsy’s coworker, he is wearing a jacket with military patches. That suggests to me that he did have a tour in Vietnam, but Scorcese didn’t (I think you may agree) emphasize it beyond those two brief scenes.

    • Thanks: BenB
  2. “Now that the Great Replacement is turning millions of young white men into Travis Bickles”
    I doubt it, most young white men seem to be very complacent, they lack a backbone and are seemingly quite happy to press on in their mediocre job if they are even lucky enough to have one. Young white men need to confidence, the backbone that young blacks have, young black men feel the world is against them even though it has pandered more to them now than ever before and they take action and continue to take action, young white men have become too complacent, complete pushovers.

  3. Stephen P says:

    Great review by Mr Lynch. I would love to see a review by him of Australian film ‘Bad Boy Bubby’ (1993) to show how far down the road of censorship we have come today.

  4. Lot says:

    Your review of Joker was very negative. I agreed with almost all of it, except that I wouldn’t call it boring. (I saw the movie 3 months ago, read your review just now.)

    Has your view changed at all since then?

    The 1978-1984 type overall setting but with a gilded age or 1920s economy and politics was an interesting point Hail made that seems to apply to a lot of dystopian fiction.

    1972-1980 was actually the period of US history with the lowest gap between the poor, middle class, and rich, and the early 1980s were nearly as egalitarian, even though mass migration, free trade, and tax and spending cuts all got their real start then.

    In a way, crime-ridden Manhattan of the 70s and 80s was a sign of relative equality. It has the best physical infrastructure in the Western Hemisphere, and was occupied by untamed proles rather than a playground for the world elite.

  5. @Lot

    Lot, That is a damned interesting comment on New York City in the 70’s and 80’s. Maybe restricting the comment to Manhattan would make it most accurate/effective?

  6. In what way was “Joker” a dud? Per Forbes (10-25-19) it was the largest grossing R-rated movie of all-time! Apparently, most who saw it loved it. Many watched it several times. It’s arguably not as good as “Taxi Driver,” though Joaquin Phoenix’s performance as deranged Incel loser Arthur Fleck was masterful, which deservedly won him the Oscar. There are, indeed, many parallels between the two films.

    The riots which took place on the night that Joker murdered talk show host Murray Franklin (Robert De Niro) on live TV presage the months long Antifa riots last summer. Doubtless, everyone cheered when Joker blasted Franklin’s brains out, who had mercilessly ridiculed Fleck’s cringeworthy performance at a comedy club. Another thing clear from Joker is how far De Niro’s once great acting skills have degraded since Taxi Driver.

    • Agree: JimDandy
  7. Lot says:
    @follyofwar

    “ In what way was “Joker” a dud?”

    Read his full review.

    “ Joaquin Phoenix’s performance as deranged Incel loser Arthur Fleck was masterful”

    I didn’t think so, and also that he’s frequently overrated and mugs for the camera.

    “ Apparently, most who saw it loved it. Many watched it several times.”

    It was unique in the sense it shows the struggles of a complete loser without redeeming qualities. Usually when we see someone struggling in poverty or with mental issues, they are revealed to be noble and stoic creatures oppressed by unjust society.

  8. Anonymous[264] • Disclaimer says:

    He also pops pills from prescription bottles. We don’t know if they are uppers, downers, or anti-psychotics.

    The pills Travis was taking might have been antacids. Paul Schrader thought up Taxi Driver when he was in the hospital with a bleeding ulcer at age 26.

    https://www.express.co.uk/celebrity-news/234162/Schrader-dreamed-up-Taxi-Driver-predicament-in-hospital

    • Replies: @Anonymous
  9. Alfa158 says:
    @VaDa

    I read a review years ago that said Travis was faking being a veteran. The patches on his field jacket are the wrong combinations for an authentic jacket, so maybe he is not a traumatized combat veteran but in fact someone who bought a jacket, stuck some patches randomly on it and is LARPing as a veteran.
    The reviewer even thought the director deliberately made the jacket a fake as an Easter egg twist that made Bickle not a traumatized man who served, then was discarded by an ungrateful country, and is suffering from PTSD. He was in fact what he initially appeared to be, a mentally disturbed misfit.
    I haven’t watched the movie closely enough to verify the jacket theory, but it does kind of fit in view of Shrader’s cultural and political views.

    • Replies: @David In TN
    , @utu
    , @Anonymous
  10. JimDandy says:
    @follyofwar

    This is where criticism gets exposed as kind of meaningless. I saw Joker in the theater and I was kind of blown away. Over time, it has not continued to resonate with me the way “better films” have, but so what? Was it derivative? Absolutely. In some ways it was a fanboy’s mashup of Taxi Driver and The King of Comedy. But most great directors are fanboys who mash up the films that inspired them–films that most viewers of their films never saw. Imagine seeing Joker if you had never seen a movie made before, say, 2000. The thing is, despite all the obvious influences, Joker had its own voice and its protagonist was an anti-hero created for the present. This film showed real prescience and it was not designed to entertain. It was an accessible art film that worked. “Not as good as Taxi Driver” is not much of a criticism, in my opinion–which is the only opinion that really matters or should matter to me, when it comes to, as they say, knowing what I like when I see it.

  11. Excal says:

    Interesting review, and a good perspective on this somewhat puzzling film.

    My impression of Taxi Driver, when I watched it years ago, was that it was a bit of a “vegetables” movie — probably good for you, great art and all that, cultural reference, but not necessarily something you’re meant to enjoy.

    Certainly it’s a good example of the director’s craft, but I had a hard time with the Travis Bickle character. I couldn’t quite work out where that was coming from. Was he a leftist’s straw-man, perhaps a sort of half-psychotic Archie Bunker, or perhaps yet another Statement on the Vietnam War? I know there are all kinds of people in the world, but Bickle didn’t seem quite natural to me; it was as though he had been pasted together from sources that didn’t quite go with each other.

    I think Schrader’s own account of writing the script clears things up a bit. Bickle is basically a youthful projection of Schrader’s own struggles and fears. Although Schrader was in his mid-twenties, that’s not too old for adolescent imaginings, and Bickle is the kind of character a frustrated, frightened, lonely teenager might dream up. Add the real difficulties of a lost 20-something still trying to sort out his path in life, and the hopelessness of the post-Nixon years and 70s New York City, and you get an authentic slice of 70s punk. Plainly it was Scorcese who made it into something worth remembering.

    • Thanks: vhrm
  12. Anonymous[376] • Disclaimer says:
    @Anonymous

    Supposedly influenced by Arthur Bremer’s diaries as well

    • Thanks: Dieter Kief
    • Replies: @utu
  13. @JimDandy

    The problem with THE JOKER is it is part of trend where fantasy is treated as fact or the basis of higher faith.

    What happens in the Batman-Joker universe can be enjoyed as fantasy, but it should never be mistaken for reality or any kind of truth. THE JOKER pretends like the Batman/Joker universe is the real world. But even worse, it’s just bad movie-making from beginning to end. Totally worthless movie except for the scene with the dwarf and Joker’s walk down the stairs.

    Anyway, this trend is a sign of cultural decrepitude and spiritual vacuum.

    Take the new TERMINATOR movie where we are supposed to accept the robot as a full-fledged character with psychology and power of moral reasoning. He atones for his ‘sins’ by settling down with some woman and changing diapers. I can understand the appeal of fantasy, and I can see the need for art as tool for truth. But when fantasy figures are presented as akin to real-life characters, it’s a sign of a culture that can’t tell one apart from the other.
    Or take BLADE RUNNER 2049. Visually impressive and it has lots of good stuff in it. But we are supposed to approach it ‘spiritually’. You see, Rachel gave a miracle birth. BLADE RUNNER is great entertainment and has modern-mythic overtones, BUT it’s not the stuff of spirituality. But the sequel goes there. It’s an astounding work to look at with complete nonsense at its core.

    • Agree: GazaPlanet
    • Replies: @JimDandy
    , @SunBakedSuburb
  14. JimDandy says:
    @Priss Factor

    “Priss Factor” is about right.

  15. Some other films that could go on this list of the “Classics of Right-Wing Cinema “:

    “Mean Streets”[very early DeNero], “Bad Liutenant”[Harvey Kietel bad-ass!], “The French Connection”[Gene Hackman], “Falling Down”[Michael Douglas], “Dirty Harry”[pretty obvious I know!]

    Robert DeNiro is the ultimate bad-ass anti-hero of all time in “Taxi Driver”!, an amazing and chilling performance. Especially in the final scene he’s like an avenging angel. It’s awesome!

    It is ironic that DeNiro is such an outspoken liberal in real life!

  16. @Alfa158

    Fake Vietnam veterans were very common. They would just put on a jacket and claim to be “messed up.”

  17. sally says:
    @oliver elkington

    There is a different interpretation to explain the difference between the complacent white pushover and young energetic youthful black. That interpretation relies on hope.

    The source of hope tracks to the narrative, allowed to be distributed, on the media.

    A interesting fable about behavior when faced with impending disaster. A long line of detainees wait their turn to be gassed, they each know the end comes when they are given the soap and towel and told to get a shower. so why don’t they just break and run and overpower the guards?

    Because one out of every 8 or 10 or so, are exempted from the showers and sent away to another place (which happens to be a hidden other soap and towel line, waiting for entry into the back of the gas chamber showers). It was impossible to see from one line that there was another line on the other side of the building, so everyone thought if they were exempted from the soap and towel and told to take the path around the building that they would be among the lucky few who would escape bathing in deadly gas. Hope kept those waiting for death, in line.

    • LOL: Rufus Clyde
    • Replies: @roo_ster
    , @Rufus Clyde
  18. This was one of my favorite movies when I was a young man. At least until I enlisted in the military and found a sense of belonging. Alienation is curable in anyone, I suppose.

    I always thought that the politician was a good legitimate target who was simply inaccessible. Soulless and completely fake in his search for votes. Why not make him the focal point of blame for the ills of the city? (Was Reagan’s would-be assassin really inspired by this movie? I’ve read more than once that Hinckley was personally acquainted with the blackhearted Bush family. Urban legend?)

    My take on the end was that Bickle had largely resolved his inner turmoil. Saving Iris and being praised for it had sufficiently filled the hole in his soul to return him to sanity. He rejected the Cybil Shepherd character because his need to impress her had vanished. Just my take.

    I’d think that Shrader or Scorsese must’ve read Notes from Underground by Dostoevsky. The main character and story are too similar to be a coincidence.

    • Replies: @Rufus Clyde
  19. 1- Joker mostly sucked. Good score, satisfying revenge scenes, otherwise try-hard and unforgivably derivative.

    2- I think every age is the age of the incel, in that many men, most males of any species in fact, do not find mates.

    3- The whole incel thing is done. Right-wing memes are also over with. The alt-right collapsed itself with Charlottesville; henceforth it’s naked Big Tech tyranny with no breathing-room.

    4- Travis is clearly in love with the girl-child Iris. Why else would they have picked Jodie Foster for the role? is that “right-wing”?

    Anyway, this trend is a sign of cultural decrepitude and spiritual vacuum.

    Trying to find higher meaning and moral guidance in movies is spiritually vacuous? No way.

    Anyhow, good movie and good review, as usual.

    • Replies: @Alfred
  20. Dumbo says:

    I like Taxi Driver, but I have a problem with the whole concept of “Classics of Right Wing Cinema”, and with Trevor Lynch’s approach n general. It feels like those cuckolds at National Review who would say, “oh this movie about a black transgender sodomite is really conservative because blah blah blah” (in the “Dems are the real racists” line). When it’s not really true, Hollywood tries to subvert as much as it can (for instance, Harvey Keitel’s pimp that was supposed to be played by a black man and was not).

    Really great films transcend such basic dichotomy. Of course, you can say that some films are “right wing” just because “reality is right wing”; if movies try to be truthful then they will reflect something approaching more reality than the leftist demonic or unrealistic fantasies.

    Anyway, it was a film that with a few changes could be made today and called “Incel Driver”. Only that Cybill Shepherd’s character would probably now be an annoying feminist who would consider a proposal to go out as a sexual assault.

  21. Polistra says:

    A worthy review. Only one quibble, in addition to what Mr Elkington said above:

    Today, the hostile elite is fully in control. They are the establishment. They want to hold on to their power. Thus they live in terror of Travis Bickles like Brenton Tarrant and Dylann Roof.

    Alas, this is every bit as much of a fantasy as the notion that ‘millions’ of white males are suddenly being awakened by current events. Sorry, but 1) the ‘hostile elite’ is fully insulated and not remotely worried about Travis Bickles and 2) the masses (including white males) are thoroughly brainwashed. They get their marching orders from daily consumption of MSM agitprop and their weekly Diversity Training.

    Finally, you shouldn’t even obliquely imply that D. Roof is any kind of hero. He’s a terminal loser who did incalculable damage to ‘our cause’ and there is nothing ‘honorable’ about him.

    • Agree: JackOH, HammerJack
  22. But even with (Dylan) Roof’s case, I felt that I had seen this all before. Then I remembered where: Taxi Driver.

    Is there much in the way of parallel between Travis Bickle and Dylan Roof? Bickle, as troubled as he is, devised a clear plan that followed some kind of logic. He went after figures of authority, politician and the pimp. If Dylan Roof had gone after black thugs or politicians, he would have been like Bickle. But he went to a black church where nice folks welcomed him. I’m no fan of Negroes, but what he did was beyond the pale. Roof’s act is more in line with the Columbine murders. He left a ‘manifesto’ of sorts, but his actions had no bearing on it whatsoever. If he had problems with blacks, presumably as bullies or criminals, why take it out on a black church full of nice folks? Even Columbine Massacre made more sense. Even though the two homo psychos mowed down kids of every clique, they felled some ‘bullies’ as well. Perhaps, they killed the ‘bullies’ out of revenge and killed others for being all-too-compliant with the school hierarchy. Bickle acts with a degree of clarity and purpose(no matter how disturbed he is), whereas Roof struck as if in a haze. It’s sort of like how Sirhan Sirhan insisted he remembers NOTHING of the day of Robert Kennedy’s murder. We sense resolve in Bickle’s preparation and action(as with Anders Breivik), whereas Roof seemed to have sleep-walked into his mayhem.

    Travis Bickle, an alienated loner in an urban hellscape who decides to die in a hail of bullets

    Suicide by assassination? Perhaps not. The film was made cognizant of the spate of famous killings going back to the 60s. JFK, RFK, and MLK. George Wallace survived but was crippled. Assassination plots were hatched against Richard Nixon and Gerald Ford. (Sean Penn was in THE ASSASSINATION OF RICHARD NIXON.) Even celebrities were not spared. Andy Warhol nearly died. David Chapman was obsessed with John Lennon throughout the 70s before killing him in 1980. Some of these assassinations were the acts of lone lunatics. Others were seemingly political or ideologically motivated. Others were by lone nuts using ideology as crutch for their madness. If John Wilkes Booth was obviously motivated mainly by politics in killing Lincoln, Lee Harvey Oswald(if he was the real culprit) was drawn to radical politics for psychological reasons. He didn’t want to be a nobody.

    So, the conception of Travis Bickle has to be seen, at least in part, as a response to the times. Indeed, it’s been argued that the Sixties as a cultural phenomenon began with the death of John F. Kennedy and coming of the Beatles. Loss of innocence, rise of radicalism, and youth hedonism, all of which are reflected in TAXI DRIVER but in a stale and deflated form. Bickle’s mission is like a parody of the Kennedy assassination, and Iris is the pathetic product of Counterculture and “Women’s Lib”. Sexual Revolution led to new forms of tyranny. Sport(Harvey Keitel) is made up like a debased version of the hippie(though he also resembles an Indian, perhaps an homage to John Ford’s THE SEARCHERS, an influence). What seemed so new and fresh in the 60s had already grown tired and sickly by the 70s. No wonder the celebration went from natural outdoors(Woodstock) to the artificial dance floor(SATURDAY NIGHT FEVER).

    The 1960s, for good or ill, was truly a momentous decade. It was like the Second Revolution or Second Civil War though the conflict was generational, racial, cultural, and sexual than military. In contrast, the first American Civil War was essentially a war among whites, pro-Union and pro-Secession. The 1960s affected everyone, everything, and every group in some profound and seminal way. Just about everything that followed the Sixties has been an attempt at repetition or repulsion. Antifa imitates the Weather Underground and SDS. Blacks invoke Civil Rights Movement over and over. MLK has been made god.
    For a time, the 80s were billed as an effective and successful counter-revolution against the 60s, but the so-called Reagan Decade was really an extension of boomer excess, this time as materialistic yuppies than delusional hippies. 60s anti-materialism and 80s materialism were really two sides of the same coin: Boomer egotism and narcissism run amok. At any rate, the fact that the 80s had to define itself against the 60s showed it didn’t have compelling themes of its own. It’s almost as if people have been unable to dream new dreams since the 60s. One either revives the 60s as exemplary or reviles the 60s as execrable. So, Obama was hailed as the new JFK, or current ‘wokeness’ is blamed as outgrowth of 60s student radicalism. Yet, even conservatives often wax romantic about the 60s as a time of free speech and, if anything, denounce current ‘liberals’ as having betrayed the 60s spirit of freedom. Either way, all things are measured in relation to that transformative decade.

    The 70s were an interesting period as both extension and rupture with the forces unleashed in the 60s. Gone was the naivete and idealism, and yet, the nation had yet to coalesce around a new consensus that would come with the short-lived Reagan’s Morning in America and the rise of slick MTV that made Grace Slick truly sick with ‘We Built This City’. In the 60s, the young cheered on Benjamin Braddock as the white(or swarthy)knight in THE GRADUATE, but Mike Nichols keynote film of the 70s was CARNAL KNOWLEDGE that documented the betrayals of the ‘sexual revolution’. Also, more candid depictions of sex and violence went from liberation(BONNIE & CLYDE that gave Pauline Kael orgasms) to a grim reckoning with reality. Closer cinema got to sex & violence, uglier things got, as in STRAW DOGS and THE LAST TANGO IN PARIS. It turned into disgust. One of the more controversial films from the period was JOE, starring Peter Boyle who appears in TAXI DRIVER. It too is about a man trying to save a girl(his daughter) from degenerates, a scenario repeated by Paul Schrader with his own directorial effort, HARDCORE. It’s as if men and women, liberated from traditional roles, go from short-lived liberation to the state of pimps and whores, real or metaphorical.

    Anyway, given that Travis Bickle was partly inspired by radicals or misfits of the 60s and 70s, is it fair to say he was seeking death? After all, most assassins of the period weren’t looking to be gunned down. Lee Harvey Oswald ran for his life and plead innocence. Sirhan Sirhan was wrestled to the ground. The shooter of George Wallace wasn’t killed either. David Chapman just surrendered after killing Lennon. Hinckley was jumped by secret agents and policeman. James Earl Ray ran from the scene. So, it’s possible Bickle wasn’t seeking death. He might have expected arrest and trial. On the other hand, he seems partly to have been inspired by Yukio Mishima(a Schrader obsession) who did seek ritual death.
    As for the bloodbath in the brothel, Bickle did everything to avoid getting hurt. He was sure Sport was incapitated, but the pimp came back and shot him in the neck. In the end, he tries to shoot himself because he’s badly injured(shot in two places) and has no chance of escape. At any rate, he doesn’t seem to be upset he’s alive in the final scene.

    Any movie involving vigilantism is inherently anti-liberal, which makes it objectively Right-wing, regardless of the vigilante’s or the director’s intentions. Liberalism is the idea that we can be governed by laws, not men.

    Vigilantism may be anti-liberal, but it isn’t necessarily right-wing, though it depends on how we define the term. After all, Antifa and BLM violence are premised on the notion that Law-and-Order as it exists is unjust and perpetuates tyranny. Therefore, radicals and blacks must take the law into their own hands and fight the evil police state that perpetuates ‘racism’ and ‘white supremacism’. And Jews and globalists are happy to aid and abet such mindset and mayhem. At Charlottesville, the authorities let the radical rabble run riot and attack Alt Right types. Global Media controlled by Jews almost never condemned attacks on Trump supporters. When Richard Spencer was clocked, most ‘liberals’ cheered and called for ‘punching nazis’. California courts were ultra-lenient on radical thugs, such as the professor who used a bike lock to bloody someone’s head. In 2020, the Power, even the US military, bestowed blessing on BLM thugs and Antifa nuts. Governments in Portland and Seattle hardly did anything to rein in the ‘mostly peaceful protesters’.

    Now, one could argue that such violence isn’t vigilante in the classic sense. Still, blacks and radicals believe they must go outside the law and commit violence because of the ‘inherent violence’ of the system rigged to favor certain groups. (To be sure, the current ‘left’ is less about the powerless against the powerful than the select sacred against the tainted others. Jews, blacks, and homos are sacred, and so, it doesn’t matter how much power, privilege, and wealth they have, whereas whites and patriots, even the poorest among them, must be attacked and humiliated because they are eternally soul-tainted by History.)
    Radicals clearly have a more abstract and theoretic sense of injustice; therefore, their violence is of a different kind than that of conservatives. While radicals and anarchists aren’t claiming to act violent for violence’s sake(which would be nihilism), their sense of wrongness derives from a macro-vision of the world. In contrast, right-wing vigilantism is grounded more in personal safety. Rightists take up arms because of direct threats to their well-being. (In RED DAWN, the townsfolk pick up arms because they were invaded by the Soviets.) So, when BLM marchers were met with a white middle class couple holding assault rifles, both parties were motivated to go outside the law but on different grounds. Those marching blacks were not in danger of being gunned down by the police, but blacks and their white radical allies have a abstract vision of historical injustice with endless invocations about slavery and Jim Crow and etc. In contrast, the white couple picked up guns merely to protect their lives and property.

    From the encounter, we can deduce why the ‘left’ has an advantage over the ‘right’. The ‘right’ is reactive and limited in scope; it isn’t willing to act unless it is threatened there and then. In contrast, the ‘left’ is motivated by a larger vision(even if delusional and nuts) that goes beyond the well-being of me-and-family. The ‘right’ is usually dormant when left alone whereas the ‘left’ is agitated even when its members face no dangers. All those college professors are affluent and privileged, but they still wage the ‘culture war’ and infect students with radicalism.

    How would Travis Bickle fit into all this? On some level, he seems a disgruntled conservative disgruntled by all the filth and corruption. And yet, he is different from the stereotypical vigilante because he does have a larger sense of the ‘wrong’ and goes after those posing no direct harm to him. Palantine is just another politician, one Bickle could just ignore. And Sport the pimp had no personal beef with Bickle. Sport is content to do his thing on his little turf. It is Bickley who intrudes into the lives of others. Furthermore, his sense of the Wrong is less personal than spiritual. Though living in a dangerous city, he isn’t particularly victimized by crime. If anything, he says he’s willing to pick up anyone, even ‘spooks’ , and go to any part of the city. He seems to make okay-money driving the cab. So, what’s his problem?
    He’s more like Oswald the radical than Paul Kersey of DEATH WISH. Kersey hardly thought of bigger issues before his family was attacked. And he reacts to criminals who threaten his life. It’s entirely personal. Bernie Goetz, who became famous or infamous in the 80s, was a classic vigilante. He wanted no trouble as long as others left him alone. If those black thugs hadn’t accosted him in the subway, there would have been no shooting and no publicity. In contrast, Bickle, like Oswald, goes looking for ‘trouble’. They both feel there’s something wrong with the world and something has to be done about it. In that sense, Bickle doesn’t fit the typical profile of the right-wing vigilante. He has right-wing sentiments but also radical obsession.

    [MORE]

    When blacks riot and loot, is it an act of vigilantism? After all, they justify their actions as righteous rebellion against a ‘racist’ society that won’t give them a fair shake in the system. There was a TV show a year back with Al Pacino as a vengeful Jew. The scenario called on Jews, blacks, and cuck-whites to hunt down ‘nazi’ whites. Is that vigilantism? If so, Jews seem to be okay with vigilante justice as long as ‘nazis’ are hunted down and hanged.
    What about post-WWII violence in Europe? In Italy and France, communists and anarchists were let loose to lynch anyone accused of fascism or collaboration. The authorities either looked the other way or encouraged it. This complicates the meaning of vigilantism.

    Of course, ‘progressives’ and ‘leftists’ almost never characterize their extra-legal activities as ‘vigilante’, a term that connotes bigotry or brute instinct, i.e. a vigilante has no sense of right-and-wrong or vision of society other than ‘my security’ or ‘my tribe’. So, anyone from Bernie Goetz to KKK member could be labeled as ‘vigilante’ because they were motivated not by ideals but personal safety or tribal/racial security.
    In contrast, extra-legal violence on the Left is idealized as serving History or some greater cause. Whereas the vigilante acts to defend life and limb(and has no bigger sense of good than himself, his family, and perhaps his tribe), the revolutionary is deemed as self-sacrificing; he takes up violence to make for a better world and is willing to give his life for it. Like Che Guevara, he’s willing to offer himself as sacrifice for the Cause. To the extent that Travis Bickle is a self-sacrificing character with shades of Jesus-complex, he doesn’t fit the bill as the classic vigilante.

    Vigilantism takes place when the legal system breaks down and citizens feel the need to take action themselves.

    It comes it two flavors. There is post-order vigilantism where people take up arms in a world because order has broken down. But there is also pre-order vigilantism, often depicted in Western movies. The frontier has yet to establish law-and-order(and the systems of contracts and property rights), so everyone operates in vigilante mode with guns and guts.
    The appeal of the Western was contradictory because the genre revels in the freedom of violence but also rooted for law-and-order whereby children and womenfolk could walk safely to church without being accosted by Lee Marvin. HIGH NOON is especially contradictory because the citizens won’t stand behind the lawman who is left all alone to go ‘vigilante’ against the will(or lack thereof) of the ‘good’ people of the town.

    It’s also murky in STRAW DOGS. In a way, David Sumner(Dustin Hoffman) goes vigilante against the town thugs, but he is motivated by pride of principle than self-preservation. Indeed, he’s willing to risk his life for that principle. He could have avoided the whole trouble had he given up the village idiot to the local yokels. He insists on protecting the village idiot out of some sense of higher principle than self-preservation, the main objectives of most vigilante types.

    and the lyrical but also menacing musical score by Bernard Herrmann

    The score is remarkable but problematic. The score is too jazzy, hip, and loose to convey the constricted and tormented inner soul of Bickle. Herrmann’s music for PSYCHO was closer to the mark in accentuating a particular kind of madness. The score for TAXI DRIVER is more reflective of the city than of Bickle in particular. (It also sounds a bit too nostalgic because it’s jazzy in the age of Rock and Soul, the dominant forms of music in the 70s. On the other hand, Bickle is a man out of time.)

    So who is Travis Bickle? Travis Bickle is a twenty-six-year-old honorably discharged Marine… Travis suffers from insomnia.

    Some have tried to explain Bickle’s madness as post-war syndrome, but he was surely borderline psycho before he entered the military, like Francis in STRIPES.

    In a way, Bickle would be better off in the military. The military provides some sense of order, structure, and purpose. One of the characters in THE BEST YEARS OF OUR LIVES has difficulty adjusting to life back home. At least in war, he was a ‘hero’, a patriot with real men. As a civilian, he’s suddenly a nobody.

    It’s no wonder Bickle shows interest in the secret service. He isn’t only trying to figure out the enemy but fascinated with its sense of order and purpose, like with Clint Eastwood’s character in IN THE LINE OF FIRE. One wonders why Bickle doesn’t join the police force. Still, driving a taxi offers some semblance of order and purpose. Taxi cabs, like police cars, are alike in their standardization. It’s a way of being ‘organizized’. There’s uniformity and order in being a cabbie in a city full of crime and chaos.
    And yet, it isn’t fulfilling because Bickle as cabbie can only be an observer than enforcer. He’s part of a system but one of serving than saving the customers.There’s a part of Bickle that wants to belong, to be part of an Order. And yet, there’s another side to him that is deviant and asocial, rather like Paul Newma’s character in COOL HAND LUKE. Bickle is a walking contradiction, like the lyrics from the Kris Kristofferson song. He’s a misfit who wants to fit in. Unlike Randall McMurphy who revels in his anarchy, Bickle is uneasy with the bohemian side of his being. The Mr. Hyde part of him feels more at home with the hookers, junkies, and other flotsam, while the Dr. Jekyll part of him feels nothing but contempt for the lowlifes. He is a weirdo with the square’s disdain for weirdos. No wonder he doesn’t leave NY. And yet, another part of him recoils in disgust from all the weirdness. It’s like Woody Allen’s quotation from Groucho Marx: “I would never want to belong to a club that would have someone like me for a member”, which is visualized in the opening of STARDUST MEMORIES where Allen, in a train car full of Jews, wants to be with the goyim in the other car.

    Some people are happy to be squares among squares while others are happy to be bohemians among bohemians. Bickle, in contrast, is like both a square among bohemians and a bohemian among squares. There’s a film MAX about young Hitler with a similar theme. Hitler’s problem is he’s too square and straight to be a bohemian artist, but too weird & maverick to be fit into respectable bourgeois society. He’s ill-at-ease in both worlds. In contrast, the Jewish Max is comfortable in both worlds. Bickle has all this weirdness but simply can’t face up to it.

    He tries to connect with his fellow cabbies. But, being on the night-shift, they are almost as weird and asocial as he is.

    But the key difference is the other cabbies are okay with what they are. Weird or not, it’s just a living for them, as with the characters in the TV series TAXI. Bickle isn’t merely weird but ill-at-east with his weirdness. (In contrast, Jeff Bridges, originally slated for the role of Bickle, plays a happy-go-lucky weirdo in THE BIG LEBOWSKI. He’s weird alright and happy to be weird. If anyone recalls Bickle in that movie, it’s the John Houseman character who’s just as weird as Lebowski but thumps his chest as an upright patriot and pious Jew to boot. BIG LEBOWSKI may have taken some inspiration from THE CUTTER’S WAY, which in turn, might have been partly inspired by TAXI DRIVER.)
    When Iris calls him ‘square’, he even misinterprets the word and says she’s ‘square’ for doing all the unsquare things. And he doesn’t seem to understand the term ‘hip’ either. As with James Dean in THE REBEL WITHOUT A CAUSE, something’s tearing him apart. If Dean’s character was trapped in an all-too-square and conformist society, Bickle is caught up in the exact opposite, an open sewer of libertine freedom reverted humanity to the tyranny of animality. Either way, there’s lack of equilibrium, especially for the innately confused.

    Senator Charles Palantine, who is running in his party’s presidential primary. (His party is not stated, but he’s clearly supposed to be a Democrat.

    Or, Palantine could be based somewhat on John Lindsay, the Liberal Republican.

    he walks into the office and asks her on a date. Betsy accepts. Travis is strange, but he’s not bad-looking and has an off-kilter charisma.
    Travis blows it on their second date, however, when he takes her to a pornographic movie. It is painfully awkward.

    He initially comes across as hip and worldly. But already at the first ‘date’, she notices something off about him. He seemed easy-going, even a bit suave, when he walked into the campaign office to introduce himself. But he comes across as increasingly earnest, almost like a Jehovah’s Witness. When she quotes from Kris Kristofferson’s song about ‘prophet and a pusher’, Bickle takes it the wrong way and misunderstands her(like Burt Lancaster’s ruse in the restaurant scene in ATLANTIC CITY when Susan Sarandon’s character says he has no fingerprints).

    TAXI DRIVER stood the test of time. As mere sociology, it would soon have appeared dated, like JOE, PEOPLE NEXT DOOR, and NETWORK. But Bickle’s problem is psychological, even spiritual, and as such universal and timeless. It’s part of man’s unceasing struggle with one’s demons, but then the demons of one era are the angels of another. No wonder Scorsese has been more fascinated with the struggle than dogma. Jesus is shown undergoing a similar struggle in THE LAST TEMPTATION OF CHRIST. The ‘spiritual’ aspect of TAXI DRIVER partly derives from Robert Bresson, whose works also influenced Schrader’s AMERICAN GIGOLO and LIGHT SLEEPER. (Bresson’s characters are usually inarticulate and withdrawn, social outcasts and pariahs. And yet, isolation and/or rejection may be a requisite for grace. Carl Dreyer with PASSION OF JOAN OF ARC and Tarkovsky with STALKER, NOSTALGHIA, and THE SACRIFICE also pondered madness as a kind of hell with a key to heaven.
    TAXI DRIVER is impure in its fusion of Bresson and Peckinpah. (Bresson’s more austere and purist take on violence can be seen in L’ARGENT.) It was also in the spirit of Lumet’s work with SERPICO and DOG DAY AFTERNOON. By the looks of Altman’s NASHVILLE, the malaise was a national problem. The country music capital, though far from New York, is beset with same problems of drugs, sex, and sleaze. It also ends with an assassination. And DELIVERANCE showed the woods ain’t no sanctuary either. Hillbillies can be queers too.

    TAXI DRIVER was both a Zeitgeist film and a stand-alone work. On the one hand, it was very much the film of the moment, the talk of the about symptoms of the malaise. It dealt with violence and sex and urban decay, crime, pornography & prostitution, alienation, crisis of youth, the problem of guns & assassination, racial tensions(especially with blacks), and etc. Like Lumet’s film from the same year, it can be approached as a social document. But like MIDNIGHT COWBOY, it is much more and has been compared with the works of Dostoevsky and continues to strike a chord with new audiences. In terms of alienation, Bickle most closely resembles Robert Duvall in THX 1138 though the worlds the two characters exhibit are diametrically opposed.

    Ironically, its biggest problem may be it’s too-well-made. Scorsese displayed such mastery and brilliance of style that Bickle is transformed into an ‘icon’ of sorts. It partly sensationalizes and idolizes him. The visual prowess canonizes his madness, much like in THE GRADUATE does for Benjamin Braddock(and HAROLD AND MAUDE does for its lead). In that sense, the raw Bickle might have been more honestly conveyed by a second-rate director lacking in visual flourish that inadvertently serves as advertisement for madness.

    https://www.chicagotribune.com/news/ct-xpm-1992-09-04-9203200889-story.html

    The choice to take Betsy to a dirty movie makes it abundantly clear that Travis has issues. It is not socially appropriate.

    And yet, here’s the irony. It was both appropriate and inappropriate. Bickle attends porn movies because they were so conspicuous in the 1970s. There were porn theaters all over NY, and XXX movies were advertised in newspapers. Serious critics and scholars wrote about movies like DEEP THROAT, which also became the codeword of a key leaker involved in the Watergate Scandal. Pauline Kael, John Simon, Susan Sontag, and others weighed in on the matter of pornography. Playboy had already become a reputable magazine with serious interviews with important figures of politics and the arts. The Carter clan would soon become chummy with Larry Flynt of HUSTLER.

    And as Bickle notes, couples attend porn movies, and there were plenty of educated middle class people, men and women, who watched porn movies in the 70s, out of habit or curiosity. So, given the culture of the times, Bickle’s taking Betsy to a porn movie wasn’t as outlandish as it may seem. (These days, stuff like GIRLS on TV and Miley Cyrus have pretty much legitimized porn among young people, and respectable journals like Forbes and other run articles about the porn industry as just another wing of capitalism.) There’s no indication that Bickle has any special thing for porn. Being confused and alienated, he seems to watch porn movies because they play in theaters, like he watches whatever is on TV. So, he takes Betsy to a porn movie because pornography seems the new normal. In that sense, he is the one being ‘normal’. It is Betsy, who takes offense, who seems ‘abnormal’, ‘old-fashioned’ and ‘square’. She still seems to cling to ‘outdated’ notions of ‘respectability’ and ‘dignity’. Initially, she seemed hipper than him, but there’s still something of the small-town in her to take offense from pornography. She did say she’s from upstate. This all adds to the confusion of modernity, and this confusion is still with us. Women now celebrate ‘slut pride’ but also pretend to take offense at Trump’s ‘grab pussy’ remark. And their idea of wearing dignity on their sleeves is to wear pussy hats. Women who use sexual wiles to get ahead suddenly shriek and join the #MeToo Movement. That crazy and shameless skank Emma Sulkowicz also cried ‘rape’, and then made a porn video about the trauma. Porn and puritanism sit side by side.

    He broods and ruminates. He tells Wizard, one of his fellow drivers played by Peter Boyle, “I got some bad ideas in my head.” Travis does not, however, come off as delusional. Instead, he is angry at the sleaze and injustice that surround him.

    He isn’t delusional about social ills, but he’s delusional in failing to realize his own sickness. Foul fumes rise from sewers, but Bickle own soul is a sewer. A part of him morally recoils from the urban rot, but he too is rotting from within because of his natural deviance and sickness, something he’s unwilling or incapable of realizing. Paul Schrader said in an interview that Bickle is a uniquely American phenomenon. He said a European or Japanese Bickle, being more cultured and/or philosophical, would realize that the main source of his sickness is from within; therefore, he would commit suicide, like the character in THE FIRE WITHIN. In contrast, Americans, being less self-aware, are prone to project their inner demons on the outside world and strike out in violence; guns help some. The problem with Bickle is he both suffers from the inner demons and is correct about the urban rot. So, his inner demons and the social rot become intermeshed, and he’s not sure to what he extent he’s being crazy and to what extent he’s being righteous. And we aren’t sure either as Bickle seeks an external solution to his internal problems.

    https://www.filmcomment.com/article/paul-schrader-richard-thompson-interview/

    https://en.wikipedia.org/wiki/The_Fire_Within

    One wonders, though, why Travis continues to subject himself to this world. Not every city is as dystopian as New York. He could also focus on better neighborhoods and better fares. But he doesn’t. The truth is that Travis is a glutton for punishment. He has a masochistic, self-defeating personality.

    In a way, it’s because he’s just as sick as the city though loathe to admit it. In this, he’s different from the retard in SLING BLADE(the indie FORREST GUMP). Billy Bob Thorton’s character is capable of murder but is really a good soul. And he feels a peace of mind looking out the window from a mental hospital. In contrast, Bickle is always in a state of inner turmoil. So, things might be even worse for him in a stable and normal community. Amidst the peace and quiet, he would be face to face with his demons. In contrast, NY is somewhat therapeutic precisely because its craziness serves as a diversion. It’s like someone who hallucinates strange voices may not prefer quietude as the voices will only grow louder. He’d rather be in a noisy place where the constant hubbub drowns out the voices emanating from within.
    Craziness being commonplace in NY, he is distracted from his inner demons. Or, he can pretend his demons are the sounds of social degeneration and decay. Bickle is a different animal than David Lynch who, as in ERASERHEAD, could probe into his weirdo psyche and see what’s there. Bickle is loathe to stare into his own soul and prefers the distractions of NY. Easier to say the world is crazy than admit oneself is. (Likewise, a minor character in FIRST REFORMED, the latest Paul Schrader film, becomes obsessed with environmental issues as a coping mechanism for his depression. He clearly has psychological issues but would rather project them onto the wider world. But this poses a new set of problems. If the whole world is as diseased as one’s own soul, where’s the escape? The man commits suicide, like Max von Sydow’s character in Ingmar Bergman’s WINTER LIGHT who ascribes his depression to fear of nuclear holocaust.)

    Also, despite Bickle’s loneliness, it too is somewhat comforting. After all, anything goes and everyone is tolerated in a big city full of strangers. No one cares. It’s lonely but one is left alone. In contrast, if Bickle were to settle in a nice rural community, he would be observed and judged by his peers. If judged badly, he would be shunned by the community. In contrast, no one is exiled in NY because everyone is a stranger. Bickle is just one of the many nameless nobodies. It is lonely but also liberating.
    Also, some prefer to be a nobody in The Place than a somebody in no place. Why does Joe Buck hang around New York as long as he does in MIDNIGHT COWBOY? It’s the capital of the world whereas the place he came from was some nowhere-ville in Texas. Adolf Hitler hated degeneracy but was drawn to the city where things were happening. Only the ‘happening’ metropoles matter. It’s like Washington D.C. is a sleazy place, but Pat Buchanan is addicted to the sports of politics. It makes him feel alive, and he just can’t let it go despite his disgust. And in Oliver Stone’s film, Nixon feels dead outside politics. You’d think he’d have peace of mind after bidding farewell to the System that only kicked him around, but he must re-enter the ring. The warrior part of Bickle knows the game is in the city. In a way, he’s a war lover.

    Today, I look at Travis and see someone on the autism spectrum who is also an incel.

    He has issues but isn’t technically an incel, which means ‘involuntary celibate’. Bickle had a chance to have sex with Iris but refused. Even when he approaches the mulatto woman at the porn theater refreshment stand, he courts her. (In the background is a classical nude statue, suggesting Bickle’s idealism about the other sex.) And he approaches Betsy with courtesy and feels she deserves respect. Ironically, he takes her to a porn theater thinking it is the ‘proper’ thing to do in NY. He thought she might appreciate it as a New Yorker.

    So, if Bickle really wanted to ‘get laid’ or ‘ball’ someone, he surely could have. He is willfully celibate with Iris. Thus, he’s more a ‘wilcel’, a willful celibate. It makes him feel special. In his mind, other men see Iris as a piece of meat, but he sees her as someone special; therefore, he is better, nobler. There’s a similar appeal to Vito and Michael Corleone. Whereas Sonny, Fredo, and Carlo stick their dongs into everyone(and even Tom Hagen has a mistress), Vito and Michael are faithful to their wives. And Vito despised the Tataglias for dealing in whoredom. One key difference between Michael Corleone and Bickle is the former belongs to a family and tradition. So, Michael’s ‘psycho’ act has legitimacy within its milieu(with its core of honor), whereas Bickle’s psycho act seems without rhyme and reason… but for the fact that society comes to spin his crazy deed as white-knight-cruader act in total ignorance of the fact that Bickle attacked the brothel ONLY BECAUSE his attempt on Palantine was foiled. It’s the thin line between monster and hero, but then in our age of George Floyd, notice how easy it was some lowlife Negro druggy to be spun as a saint, along with Michael Brown. And Jonathan Pollard went from arch-traitor, the worst in US history, to a hero who spied for Israel; as Israel is America’s Greatest Ally, Pollard’s deeds now seem more than justified. If the US’s primary purpose is to serve Israel, then Pollard did no wrong in betraying the US for Israel. It’s what 99% of politicians do on a daily basis.

    Betsy isn’t the only object of Travis’ gallantry. He also wants to rescue Iris, a twelve-year-old prostitute from a pimp played by Harvey Keitel.

    In a way, he ‘also’ wants to save Iris. In another way, he ‘afterwards’ wants to save Iris as compensation for having lost Betsy. Iris is like a consolation prize. Had things worked out with Betsy, it’s unlikely he would have paid any mind to Iris. But after his humiliation with Betsy, he fixates on Iris to restore his pride. Betsy is too high above him. He saw her as an angel, even a goddess. He apologized and groveled, but she snubbed him as a loser and lunatic. He can’t handle this pain, and so, Iris becomes useful to his wounded ego.
    After all, she’s a young whore, the dreg of society. There’s no way someone like her can look down on him. She allows any man to screw her orifices for money. She’s so low in the totem pole that that he need not worry about being rejected by her. Jesus too had a special relation with a whore.
    People feel offended by being snubbed or rejected by superiors, not inferiors. People take offense when called dumb by a smart person, not by a retard. So, Bickle feels more at ease with Iris who is below even someone like him. Also, there’s something similar to the dynamics of MULHOLLAND DR. There, Diane Selwyn feels dejected and humiliated by her friend who made it into the industry. In her fantasy, Selwyn-as-Betty is full of love and kindness; she would never do what her friend did to her and goes out of her way to help out an amnesiac stranger who is modeled on the friend. Similarly, through his concern toward Iris, Bickle is reassuring himself that he would never do what Betsy did to him. She turned out to be a BITCH, but he’s no son-of-a-bitch. He cares and would go out of his way to care for Iris.
    But then, he’s not being entirely honest. After all, his real objective was to kill Palantine(and face arrest or be shot by cops and secret service men). He attacked the brothel as compensation for his failed attempt on Palantine. Now, why did he target Palantine? He may consciously justify it on political or ideological grounds. But, it really has to do with Betsy. Subconsciously, he sees Palantine as the pimp who owns Betsy as his whore. In Bickle’s subconscious, Palantine is to Betsy what Iris is to Sport. So, even as he’d become bitter about Betsy, a part of him still wants to prove himself as the slayer of the super-pimp who owns her.

    The seventies were the decade of the anti-hero. The organs of the culture were by then firmly in the hands of the hostile elite. Thus the instinct of the critical mainstream was to weaponize anti-heroes like Bickle against the establishment, meaning against mainstream America. There was surely some hand-rubbing on both coasts when Reagan was shot by a wannabe Travis Bickle.

    But Bickle isn’t at war with mainstream America but with the very things that led to White Flight. And he seems uneasy in the presence of black thugs. And he puts down the Jew played by Albert Brooks. Also, many Anti-Heroes of 70s cinema were accused of ‘fascism’. Dirty Harry was an anti-hero cop. Unlike the traditional crime fighter, he played dirty like the criminals. He bent rules. But people still rooted for him because he got things done. Crime got so out of control that even Liberal Hollywood was making ‘vigilant movies’ and soon shut down the production of Blaxploitation movies as agitating the Negroes. SWEET SWEETBACK’S BADASS SONG was a runaway hit in the black community but was soon taken out of circulation.

    Audiences also identified with the Corleones of THE GODFATHER. Corleones were killers and criminals but not without an element of Nobility in their Evil in service to Family and Honor. THE LAST DETAIL mocks the military but also hippies and other freaks of the period. ONE FLEW OVER THE CUCKOO’S NEST has an anti-hero who fights Negroes and a bitch-monster. If the problem in CUCKOO’S NEST is too much order, the problem in TAXI DRIVER is too much disorder. Both were released in the same year, but one featured problems of pre-60s revolution and the other the problems of post-60s.
    It was Liberals who were most upset with THE FRENCH CONNECTION where anti-hero cops played dirty to shake down black junkies and break up the international drug trade. William Friedkin’s other big movie was THE EXORCIST, the appeal of which wasn’t all that different from TAXI DRIVER. A priest paralyzed with self-doubt regains meaning by fighting the Devil to save a young girl whose body is ravaged by onset of puberty.

    With movies like NETWORK and ALL THE PRESIDENT’S MEN, things got further confused. Are the two newsmen in ALL THE PRESIDENT’S MEN heroes or anti-heroes? In a way, they are hero journalists. Yet, they can also be seen as assassins, gunning to bring down the President. You don’t need a gun to hunt politicians, as Trump recently found out. Are Woodward and Bernstein rebels against the most powerful man in America, or are they hired killers for the Establishment that simply didn’t like Nixon? Heroes and Anti-heroes become even more muddled in the world of NETWORK.

    Today, the hostile elite is fully in control. They are the establishment. They want to hold on to their power. Thus they live in terror of Travis Bickles like Brenton Tarrant and Dylann Roof. Hence the cultural organs pushed back hard against Todd Phillips’ Joker, which owes a great deal to both Taxi Driver and Scorsese’s later DeNiro vehicle The King of Comedy.

    I don’t think the current elites would be much upset with a film like TAXI DRIVER were one to be come out today(but for the part about blacks, especially the scene where Scorsese as jealous husband says he’s gonna take a magnum 44 and blow away his wife’s pooter for her infidelity with Long Dong Silver). The reason why many critics reacted in horror to THE JOKER was it sensationalized Art House tropes for the mass audience. Some people might come away with sick ideas from TAXI DRIVER, but it was never going to encourage MOBS of Travis Bickles. From beginning to end, Bickle is on his own as God’s Lonely Man.
    In contrast, THE JOKER is about how the sickness of a single person spreads like wildfire and inspires a mass movement. Also, due to its superhero comic book pedigree, many more people were going to see THE JOKER than TAXI DRIVER(or something like KING OF COMEDY). Whatever its flaws, Scorsese and Schrader tried to be true with the material: What would really happen with someone like Travis Bickle, a time bomb waiting to go off?
    In contrast, THE JOKER merely steals the tropes from Art Films and goes into fantasy mode not unlike V FOR VENDETTA. Genuine art rarely has mass appeal. Fantasy has mass appeal but is usually taken as fantasy, nothing serious. But THE JOKER was deemed dangerous as Mass Fantasy posturing as Radical Truth.

    Of course, some feared THE JOKER might instigate white male rage. Apparently, the Power is okay with white cuck rage(Antifa) and black rage(BLM) because Jews regard White Identity/Pride as their nemesis. But events of 2020 showed that the Jews underestimated the madness of what they unleashed. They hoped to herd Antifa and BLM rage only against Trump and conservatives, but if you let the bulls and wild hogs loose, there’s no telling where they’ll rampage.

  23. I recall emerging from Taxi Driver onto the sidewalk and into pouring rain with my girlfriend in 1976, ironically hailing, “Taxi!”

    The scene that I recall the most is when the alienated Bickle slowly kicks over his black and white TV set, alone in his apartment. Perfectly understood, before my girlfriend, now wife of over 40 years.

  24. Schrader’s HARDCORE.




    [MORE]

    CRUISING is a fascinating movie.

    • Replies: @flyingtiger
  25. Anon[146] • Disclaimer says:
    @Lot

    In a way, crime-ridden Manhattan of the 70s and 80s was a sign of relative equality. It has the best physical infrastructure in the Western Hemisphere, and was occupied by untamed proles rather than a playground for the world elite.

    The infrastructure wasn’t great though. In the 70s, there was an arson epidemic burning down buildings all over Manhattan, thousands of cops and firefighters were laid off, there was a major cutback in public services, graffiti and trash were everywhere, there was a major blackout in ’77, etc.

  26. Schuetze says:

    1976 was just about when the flood gates of jew porn were opened in the US. Sure, already in the late 1960’s Playboy was available on the top shelf of the magazine racks, but it was still hidden from children. I was in my early teens at this point, and Playboy was still very mild compared to the porn deluge that was about to hit, still mostly just showing sillhouettes of bare breasts. Penthouse arrived in 1969, and not long after the deluge of full on porn hit the checkout stands. Soon, likely about the same time as the release of “Taxi Driver”, front covers of full on jew porn were confronting mothers and children at most grocery store checkout counters, in California at least.

    “Taxi Driver” had lots of sex, pedophilia and violence cut out of it to make it into an “R” rated film so that the jewish porn pushers could get it shown to horny teenage boys like myself. I don’t remember what year it was when I finally watched it, but I do remember that I felt soiled after wards. Trevor Lynch may want to justify the filth displayed on screen by relating it to the filth of New York, but really its “gritty” and “edgy” properties were just one part of its deliberate weaponization against Christian morals. Taxi Driver was the poster child for decades of Tarantino style violence porn that followed.

    That movie, and that entire film era, with x-rated releases like deep throat and behind the green door, really marked the turning point into sexual depravity where the US finds itself now. The skinny whore Jody Foster with her bumps for breasts was really just child pornography dolloped up to get past the censors, about the same as Lolita. Just look at the life of bull dyke Jody Foster to get an idea of what kind of effects this filth has on developing minds.

    Hollywood of course is the epicenter for the entire planet of this Jewish mind control filth. The only place on the planet that I despise more would be Tel Aviv, which is also chock full of pedophiles and Heeb Homos. Steve Sailer and his commenters are obsessed with all this Hollywood trivia and drivel, and this is one reason I rarely read his column.

    One thing good about Taxi Driver is that it serves as a milestone on the path to Jewish depravity and the denigration of European culture.

    Another good thing about Taxi Driver is that it serves as a flaming beacon to show that the NSDAP, and 190 countries over history, were right about Jews not belonging in European countries. The Jews should be forced to go back to Israel taking all their violence, pedophilia and pornography with them. If directors like Scorcese and actors like Deniro want to produce this stuff, then let them do it for sheckels in Tel Aviv, but keep the filth locked up in Israel with ALL the jews.

  27. utu says:
    @Alfa158

    Want to know what Travis was about ask Paul Schrader. The jacked belonged to Schrader. “Travis Bickle is me”.

    “At the time I wrote it [Taxi Driver], I was in a rather low and bad place,” Schrader says. “I had broken with Pauline [Kael], I had broken with my wife, I had broken with the woman I left my wife for, I had broken with the American Film Institute and I was in debt.” For several weeks, he drifted around LA, living and sleeping in his car, eating junk food, watching porn. Eventually, when his stomach began to hurt badly, he went to the hospital and discovered he had an ulcer.

    “When I was talking to the nurse, I realised I hadn’t spoken to anyone in weeks … that was when the metaphor of the taxi cab occurred to me. That is what I was: this person in an iron box, a coffin, floating round the city, but seemingly alone.” He claims he wrote the script, which he dashed off in under a fortnight, as self-therapy, to “exorcise the evil I felt within me”.

    But whatever their reservations about his street knowledge, Scorsese and De Niro were entirely in synch with Schrader as to who Travis Bickle was. They didn’t spend long hours discussing Travis’s motivations. Schrader simply gave De Niro his jacket and boots and left him to get on with it.

    https://www.theguardian.com/film/2006/jul/06/features.geoffreymacnab

    • Thanks: JackOH
  28. utu says:
    @Anonymous

    Arthur Bremer’s diaries have not been published yet when Schrader wrote the script.

  29. Alfred says:
    @Marshall Lentini

    I think every age is the age of the incel, in that many men, most males of any species in fact, do not find mates.

    Correct.

    But the media tells them otherwise. Currently, I am an incel, but I am 70 and I have 3 kids (from 2 women) under my belt.

    The funny thing is that women are always attracted to men who have other women. When I am alone, girls ignore me or treat me like trash. When I have a beautiful girl next to me, other girls are swarming to replace her. Only a slight exaggeration. 🙂

    This is Why the Rich Old Men Will Always Get the Beautiful Girls!

  30. @notoneofthem

    Yeah right, “The French Connection” – and “Pat Garrett and Billy the Kid”. And “True Grit”. “Inside Llewyn Davis.”

  31. MEH 0910 says:

    Taxi Driver soundtrack playlist:

  32. Dumbo says:
    @Schuetze

    Taxi Driver was the poster child for decades of Tarantino style violence porn that followed.

    Yes, that is an argument that can be made. Even though the character of Travis Bickle shows revulsion about the “skanks, filth”, etc, the film wallows in the same universe of moral decrepitude, titillating the viewer with pedophilia, porn and violent images. Tarantino just removes the revulsion and makes it into a joke.

    The culmination of this “progress” must have been Tarantino’s pal Eric Roth’s “Hostel” series, where the torture porn becomes literal, shedding out any type of criticism (as in Taxi Driver) or irony, and becomes just sickness for sickness sake.

    I was wondering what Trevor Lynch thinks of a series like “Hannibal” (both the movies and the more recent series with Mads Mikkelsen), where the main character is a cultured, intelligent psycho-killer whose murders and tortures are portrayed as some kind of artistic endeavour – and not the only one, as practically each episode has a different psycho killer whose methods are absurdly grotesque.

    (Actually, it is interesting this elevation of the character of the “serial killer” that started in the 80s, showing them as clever or interesting people, when mostly they are deranged sickos of low intelligence and even less culture, and usually homosexual. In fact, I believe that those who most like Hannibal and other series about psycho killers are gays and women.)

  33. mcohen says:
    @Schuetze

    you talkin’ to me

    • Replies: @Schuetze
    , @Homer
  34. You know Falling Down will make this list.

  35. @Lot

    In a way, crime-ridden Manhattan of the 70s and 80s was a sign of relative equality. It has the best physical infrastructure in the Western Hemisphere,

    Manhattan infrastructure now …. the dystopian surveillance tech seems to be top notch
    ….

    View post on imgur.com

    • Replies: @Hhsiii
  36. “He is what I call an “honorable defeatist.””

    Travis Bickle is just a defeatist by any measure and the truth is provided by the very author in his earlier lines…

    “The truth is that Travis is a glutton for punishment. He has a masochistic, self-defeating personality.”

    And there ain’t anything honorable about that!

    Otherwise, it’s a good review of a great film. Keep it up, please!

    • Replies: @Trevor Lynch
  37. This is a good movie, but, in my opinion, somewhat overrated.

    What remains of it, after all these years?

    Travis Bickle is an anti-hero as a semi-retard. His mental life is virtually non-existent & his emotions are a behavioral reaction to the scenes of urban decay, corruption, decadence, stench, shitheads populating a modern degenerate metropolis. I vaguely remember, but it could be that all the gore wouldn’t have happened had he banged the Sybil Shepherd character. So- he is a bizarre, but a memorable cartoon.

    Had pimps been nig-nogs, what was, I think, the original idea -then the movie would have retained its topicality. Now, it looks like a breakthrough in the early, innocent age of film profanity, violence & general loathsomeness.

    Typical Scorsese.

  38. First of all, I greatly appreciate these movie reviews … and as suggestions were asked I submit “The Cuck”, a recent movie that maybe wasn’t “right wing” , but I vaguely remember an ancient Greek proposition, that when an artist shows us something that we recognize as truthful, it gives us pleasure —

    If there’s a degrees of being evil shit lunatic mass murderer I’d say the Aussie Trenton bloke takes the cake … the first ever ironic trolling mass murder in the meat space done just for LOLs … lot of competition, Breivik was maybe the nextest worst … Varg Vikernes condemned Breivik’s sick actions …

    • Replies: @Pericles
  39. Normally, I really enjoy these reviews as being insightful and thoughtful, although I don’t always agree with Trevor on various issues. But the following lost me immediately:

    “Instead, he seems a lot like Dylann Roof, Patrick Crusius, Brenton Tarrant, and John Earnest: all ideologically motivated honorable defeatists.”

    There is nothing ‘honorable’ about murdering innocents, whatever the alleged motivation was. These monsters are psychopathic scum who all richly deserve the death penalty, although Tarrant will live a long life in the NZ penal system, one suspects, though he deserves otherwise. Also, add Anders Behring Breivik to that list as well. May they all burn in hell, if such a place exists…… and for their sakes and others like them, I hope it does.

    • Replies: @Pericles
  40. TonyC says:

    A few suggestions which may appeal to those more on the right politically or who enjoyed Taxi Driver.

    Conan the Barbarian
    Cube
    Dead Man’s Shoes
    Double Indemnity
    Ferris Bueller’s Day Off
    Final Destination
    Get Carter
    Goodbye Mr Chips (1939)
    Idiocracy
    Inherent Vice
    Le Samourai
    Minority Report
    Planes, Trains and Automobiles
    Predator
    Swingers
    The French Connection
    The Game
    The Jerk
    The Man Who Would Be King
    The Quiet Earth
    The Treasure of the Sierra Madre
    The War of the Roses
    The Wild Bunch
    Valhalla Rising
    Videodrome

    • Replies: @Trevor Lynch
  41. @Schuetze

    Another good thing about Taxi Driver is that it serves as a flaming beacon to show that the NSDAP, and 190 countries over history, were right about Jews not belonging in European countries. The Jews should be forced to go back to Israel taking all their violence, pedophilia and pornography with them.

    [MORE]

  42. Trickster says:
    @VaDa

    I agree with you. Its one thing to hose down a tree line or unload a whole belt into the bush and another to rumble face to face. Even though one may get a momentary flash of the subject’s eyes and his last view of the world (and of you before you move on to other tasks) there is that indefinable last look that leaves a lasting impression in the mind of the survivor. Hand to hand is like a struggle between 2 wild dogs. Experienced men are wise to carry some extra pistol clips to avoid the close up, intimate experience.

    Given that Travis capped so many bad dudes close up I would say that his character did serve in the Nam and had indulged in the same practice there. This to me seemed to subjectively enhance and support the other props you mentioned.

    In any case, the movie was made in 1975 the same year we exited Nam from the roof on the American Embassy. Scorcese with that typical fine Italian hand knew enough to hint at Travis’s foundational experience but not pick an open sore ! Later, there was movie after movie depicting Nam vets as deranged psychos. Hollywood flogged this theme quite profitably although the experience of men in SE Asia was no different than those of any other war.

    Finally today, New York is again the shit hole it was in the 70’s and the state of the City and the mental outlook of most of its inhabitants cannot be ascribed to PTSD and all that shit. The place is like an open air prison and if you dont have a strong mind the City will break you.

    Nevertheless, many people love it which goes to show man can survive anywhere and what one might consider a nut house another considers home.

  43. MLK says:

    After reading this review, The Searchers came to mind as the movie most influential on Taxi Driver.

    A quick Google search revealed that I wasn’t the first to come up with that.

    https://www.politico.com/states/new-york/city-hall/story/2012/08/see-the-searchers-and-the-making-of-travis-bickle-067223

    Heck, Keitel’s “Sport” looks much like Henry Brandon’s “Scar.

    You should also consider to a lesser degree Charles Bronson’s “Harmonica” in “Once Upon A Time In The West.”

    A genuine anti-hero can never be fully embraced. Unless you’re an immature teenager or have psychological issues.

    I haven’t seen “The Joker” because it strikes me as a pernicious attack on Nolan/Ledger’s anti-hero “Joker” in “The Dark Knight,” which also owes a huge debt to The Searchers.

  44. Trickster says:
    @Alfred

    I agree ! They want to know what you have that other women find attractive and want and they want what other women have.

    Which woman wants a man who is a reject ? What I find is that the more loving I am to my wife in the company of others the more bitches I attract. They want and hunger for the same treatment.

    Youth may power but they dont know how to use it. Most think women want a man who is sensitive and all that fluff. In fact women want a man who is a MAN and for those women who dont want that there is always lesbian love. The real man moves them along after using them as he has no time to be other than what he is !

    That’s why we older men control the ladies and why they want to please us in every way. While the young guys are busy working to impress the hoes and spend money on them, we are laying pipe.

    They pay…..and we lay !

    • Agree: Alfred
  45. Sam J. says:
    @Priss Factor

    “… After all, Antifa and BLM violence are premised on the notion that Law-and-Order as it exists is unjust and perpetuates tyranny…”

    Turns out all the areas burnt down by BLM perfectly line up with “opportunity zones” that are legislated for tax relief. So billionaires can put money there and get tax breaks says Catherine Fitts in a new video.

    So maybe the whole thing was block clearing. It’s said by some that the same thing happened in the move of blacks and rioting done before in the cities but they couldn’t get the blacks to move out again after they had cleared the whites out so it was somewhat of a failure.

    Of course you all know who runs BLM.

    • Replies: @Jefferson Temple
  46. unit472 says:

    I’ll nominate “Joe” with Peter Boyle in the title role. It has it all. Racism. Guns,( ” Joe” has a Thompson machine gun somehow retained from WW2 ) and sex.

    Any Lee Marvin movie. Marvin defined ‘right wing fascist’! His 1968 movie Point Blank was great and as a bonus he gets to fuck Angie Dickinson!

    While everyone would nominate Clint Eastwood as the successor to John Wayne, Richard Widmark also made some excellent Fascist films. 1947’s “Kiss of Death” where Widmark pushes an elderly women in a wheelchair down a flight of stairs remains one of Hollywood’s most shocking scenes. His 1968 movie “Madigan” where, with Harry Guardino as New York police detectives, was a more realistic and refined version of “Dirty Harry”. I still chuckle at the scene where Widmark and Guardino, play ‘good cop bad cop’ while questioning a suspect. Guardino hammers the dirtbags hand against the table and when Widmark objects Guardino says ‘I was just trying to explain the law’.

    • Thanks: JimDandy
  47. Pericles says:
    @A. Hipster

    If there’s a degrees of being evil shit lunatic mass murderer I’d say the Aussie Trenton bloke takes the cake …

    I guess it never reached the artisanal cupcake bakery in Brooklyn, but hipster doesn’t even mention the spike bomb at the girl concert in Manchester, or the islamic driving school that splatted numerous young school children in Nice along with a large number of others, or those torture-murder muslims at Bataclan, or islamic driving school in Stockholm for that matter. Also, come to think of it, that bit of muslim terror murder in retaliation for Tarrant. Just off the top of my head.

  48. Trinity says:
    @notoneofthem

    Yeah, I was thinking “Dirty Harry” should have been tops on “Right Wing Cinema.” Sorry, but painting those right of Joe Stalin as incels, mentally disturbed, or emotional basket cases is straight out of Hollywood.

    “Falling Down” is typical Hollywood Jew horseshit. It has an over the top skinhead neo-Nazi character who Michael Douglas proclaims is a sick bastard and of course the skinhead mentions gassing Jews. Yeah, that movie is “right wing cinema” if you are an Israel First cuckservative follower of Lush Limbaugh and Pawn Vanity. And of course it has the token Black good guy as well.

    “Taxi Driver” is NOT “Right Wing Cinema,” at all.

    1. Dirty Harry * the champion of “Right Wing Cinema” if there is such a thing.

    2. Death Wish * the original, all the rest were total shit, should have had more nonwhite thugs instead of Hollywood injecting token White thugs.

    3. The Incident * once again, Hollywood has two White guys as thugs on the subway. The thugs hold the whole car hostage. No one wants to get involved. Beau Bridges who plays a serviceman from Oklahoma saddled with a broken arm is the only rider willing to take a stand. Excellent cast in this film.

    4. And Justice For All * Pacino fights a corrupt system.

    5. Serpico * Yet another one where Pacino fights corruption. While I have no idea if a real life right winger would rent a place in Greenwich Village during that time period, the movie Serpico is a true story of lone cop battling a corrupt system. Serpico represents morality, integrity, and honor in a society who views those values are for suckers only. Now that is what is a Right Winger truly is, not some mentally deranged, misfit like Travis Bickle.

  49. Pericles says:
    @Mustapha Mond

    If so, Mustapha, muslims too at full furnace blast — incinerate them all.

    • Replies: @Mustapha Mond
  50. Schuetze says:
    @mcohen

    Actually I have reconsidered my assertion “All Jews” should go to Israel.

    [MORE]

    There are many good jews who it would be a shame to lose, like Brother Nathanael, Henry Makow, or our host here at UR. So, after tearing a page from the Talmudic “infect the Goyim book” I have come up with a good jew test we can use to weed out the Zionazis. Instead of the “Great Reset” we would call it “The Great Inversion”.

    We could call it the “PCR Test”, or “Proof of Christian Respect Test”. It would be composed of about 40-50 different question or “anti-white cycles” for Jews, with a secret threshold that could be varied by the time of day, day of week, month of the year, or shape of the jews nose. Clearly a jew who could pass at least the first N questions/cycles would not be considered “anti-white”, and the questions/cycles would be easy enough to pass so that “good jews” like I mentioned above would pass with no problems. They would be something like the following, getting progressively more difficult as the cycles increased:

    – Did the NSDAP deliberately gas 6 million Jews in the years 1942-1944?
    – Have you ever tried to suppress the BDS movement
    – Is Gaza a genocidal Death Camp
    – Are the Protocols of Zion a Forgery
    – etc

    For you Moshe, and jews like you who could never pass the PCR test, we could make a process whereby you could prove, voluntarily of course, that you are no longer a threat to western civilization. We could call it “dejewdification”, or even “the second reconstruction”.

    Quite simply, you would have to take the reverse-jew-juice vaccination. This vaccination would inject nano particles, mRNA and of course Luciferase into your blood in order to reduce jewish blood lust and propensity to call white people “amalek”. The nano particles would allow you to avoid having to wear a yellow star on your arm because you would become a integral part of the IOT (Internet Of Things) and your every movement would be tracked by the 5G grid. The nano particles would also report any instances of anti-white rage or even any kosher thoughts about things like forced circumcision. The nano particles would also serve as a “guest in white society” credit system, where any anti-white thoughts or actions would instantly be reflected in your anti-Yahweh credit score and if it dropped below a certain threshold you would lose your ability to travel, bank account or even to buy or sell. Finally, because jews have such a history of trying to commit genocide against whites, and because of the Hooten, Kalergy and Morgentau plans, the reverse-jew-juice vaccination would sterilize you. It would all be for the good of the environment and the planet, so I am certain that you could not have any misgivings.

    Bill Gates explains it best:

    • Thanks: Alfred
  51. Schuetze says:
    @Trinity

    “1. Dirty Harry * the champion of “Right Wing Cinema” if there is such a thing.”

    Dirty Harry is getting close, but Eastwood never names the jew in any of his movies, so really he is just dancing around the 800 lb. yid Gorilla while looking the other way.

    Mel Gibson names the jew in “Passion of Christ”, but I don’t consider that to be “Right Wing Cinema”.

    Therefore I nominate Road Warrior/Mad Max. Lord Humungus is even a faggot, and his biker gang is as queer as Antifa.

    • Replies: @Trinity
    , @Nancy
    , @John Johnson
  52. HT says:

    Very powerful movie which I have enjoyed watching many times. Travis was a very complex character and De Niro is one of the few actors capable of doing the role justice. Was he a psychopath or just a drug abuser that was a product of his sick and disgusting urban environment? Who knows but he emerges as a hero at the end. Great cast including the young Jodie Foster. For several reasons, they don’t make legendary movies like this anymore.

    • Replies: @Schuetze
  53. Sam Peckinpah beats Martin Scorsese every day of the week and twice on Sunday. Peckinpah made movies about White men. Scorsese make movies about swarthy urban dwellers.

    • Agree: flyingtiger
    • Thanks: Etruscan Film Star
    • Replies: @Priss Factor
  54. Dumbo says:
    @Trinity

    2. Death Wish * the original, all the rest were total shit, should have had more nonwhite thugs instead of Hollywood injecting token White thugs.

    When I saw the original Death Wish, I was surprised, I would not call it a great film, but it is actually a serious movie.

    The others are just trash, not worth even as parodies of the original, but almost complete junk. I guess it’s typical of Hollywood to do this type of thing, make one relatively good movie and then a lot of horrid sequels that completely change or invert the original idea.

    • Replies: @Trinity
  55. @Pericles

    You might want to educate yourself via this link: https://en.wikipedia.org/wiki/Brave_New_World

    Go down to the section entitled “Characters” and check out the fifth entry.

    You need to read more classic literature.

    I’m 100% white, American, raised Episcopal.

    Sorry to disappoint.

    Look elsewhere if you wish to enrage with sick, psychotic fantasies of burning muslims, against whom generally I personally hold no grudges and bear no ill will, and similarly for basically all of humanity, for that matter……. even you.

    Happy New Year.

    • Replies: @Pericles
  56. @Chris Mallory

    Peckinpah’s white men have the hots for swarthy sexy-Mexies.

    • Replies: @Chris Mallory
  57. Trinity says:
    @Schuetze

    Can you think of any movie that names the Jew? I like how the Russian Mafia is always portrayed as Russkies, often wearing Christian Crosses around their necks. We all know that the Russian Mafia is about as Russkie as the so-called (((Russian Revolution.)))

    Two things that are never discussed to any great detail in Hollywood, the Jewish international mafia which makes the Italian mafia look like choir boys and the Holodomor and the Jewish role in the brutal slaughtering Czar Nicholas II and his family.

    • Replies: @Dumbo
    , @Pericles
    , @notoneofthem
  58. Trinity says:
    @Dumbo

    Yes, those sequels were pure shit. Favorite Bronson movies are, “Hard Times,” “The Mechanic,” and “Death Hunt.” I would put the original “Death Wish” at number 4.

  59. @Sam J.

    Yes, I watched this entire video of CAF two days ago. She provides enough pieces of the puzzle of 2020 that I probably won’t actively search anymore. BLM was obviously not moving organically and Antifa are Jewish leftist brownshirts.

    The piles of bricks and the big contributions from corporations gave away that something was very not right. Everyone needs to watch all 48 minutes of this. Divide and conquer, it always works.

    • Replies: @JimDandy
  60. Miro23 says:

    For the purposes of this series, what makes a film “Right-wing” is its subject matter, its message, or simply how it resonates with people on the Right, regardless of the filmmaker’s intent. Please feel free to nominate films for this series in the comments below.

    If it’s about resonance I would choose the following:

    John Carpenter, “THEY LIVE” – IMO it catches the idea of a totalitarian hidden elite + their private MSM propaganda machine. There’s that climax where MSM central gets taken down.

    Andrew Niccol, “IN TIME” – Currency becomes all digital, and how much you have is displayed on your arm (through which you pay and receive). It’s continuously reduced for the same amount of work – and if it reaches zero you die. Also the ultimate luxury gated community of “Time” issuance controllers.

    Akira Kurosawa, “SEVEN SAMURAI” – A village is looted every year after the harvest by mounted bandits. Although very scared, the villagers get the courage to pay a group of warrior caste mercenaries (Samurai) to organize a defense the coming year – which they do.

    • Replies: @Priss Factor
  61. Nancy says:
    @Schuetze

    Well, just watched Dirty Harry for first time last week… and someone did mention ‘Heebs’ in the litany of Harry’s prejudices (before Harry added ‘Spics’, the ethnicity of his unwanted new partner).

    BTW, considering that Talmudists have controlled Hollywood for… ever, how do these ‘right wing’ movies play into their long term plans for US (Western) society? I could theorize a strategy, but wonder about the general opinion here.

    • Replies: @Schuetze
  62. Dumbo says:
    @Trinity

    Two things that are never discussed to any great detail in Hollywood, the Jewish international mafia which makes the Italian mafia look like choir boys

    Jewish mafia appears in the two Godfather movies (there should have been only two, the third one is not worth mentioning), but they play second fiddle to the Italian mafia (yeah, right).

    “Once upon a time in America” was about Jewish gangsters (curiously, or not, directed by an Italian, maybe as a payback for all the Hollywood Italian mafia movies?).

    I think the more recent “Drive” had a Jewish gangster villain but I don’t remember much. But yeah, not too many.

    and the Holodomor and the Jewish role in the brutal slaughtering Czar Nicholas II and his family.

    That’s a hard one. Maybe Disney’s “Anastasia”? But I don’t think they show the murder of the Romanovs in that one.

    • Thanks: Trinity
  63. @Lot

    1972-1980 was actually the period of US history with the lowest gap between the poor, middle class, and rich, and the early 1980s were nearly as egalitarian, even though mass migration, free trade, and tax and spending cuts all got their real start then.

    Those of us living in the real world recall
    These levels of taxation

    And these levels of spending
    https://tradingeconomics.com/united-states/government-spending-to-gdp

    Once more. A Lot of shit.

  64. Pericles says:
    @Mustapha Mond

    I have of course already read the book, in school even, and do remember the character a bit. Some sort of NWO type explaining the world to the barbarian guy, right? But why does that matter here?

    As to the rest, given the multiple comments against Breivik appearing all of a sudden, I’d first of all assume you’re basically just a script. Bravo for claiming the name tho, Mustapha.

  65. Schuetze says:
    @HT

    “De Niro is one of the few actors capable of doing the role justice.”

    De Niro has based his entire life on that role, for the last 4 years he has been playing a foul mouthed taxi driver cursing Trump for all his contrived by the left short comings. Of course there were plenty of reasons to be discussed about why Trump is a douchebag, but De Niro’s owners would never have let him say it. I can’t think of any actor in history that has over played and over stayed the role that brought him fame and fortune as much as De Niro, and that includes Jesse Ventura and Hulk Hogan..

  66. Pericles says:
    @Trinity

    Can you think of any movie that names the Jew? I like how the Russian Mafia is always portrayed as Russkies, often wearing Christian Crosses around their necks.

    Not sure it counts, but I’ve thought Godfather III quietly felt more like jewish mafia than italian. Mutatis mutandis, of course.

  67. TGD says:

    I don’t go in for over analyzing film plots- coming up with underlying themes that the script writer and/or the director hadn’t thought of or intended- but makes up endless fill for the critics.

    Just one technical correction:

    To while away his sleepless nights, Travis has been hanging out at porn theaters and all-night diners…

    I recognized that the scene where Travis is drinking coffee with Peter Boyle and the other drivers was filmed not in a diner but at the old Belmore Cafeteria, 28th Street and Park Avenue South. I ate there plenty when I lived in Manhattan in the late ’60s.

    • Replies: @Lost American
  68. “Today, the hostile elite is fully in control. They are the establishment. They want to hold on to their power. Thus they live in terror of Travis Bickles like Brenton Tarrant and Dylann Roof.”

    Beginning of the Days of the Incels?

    https://www.zerohedge.com/political/severed-pigs-head-left-nancy-pelosis-driveway-vandals-tag-garage

    Update (1238ET): The Louisville home of Senate Majority Leader Mitch McConnell (R-KY), was vandalized as well – as “where’s my money” could be seen tagged on his front door, while other words were spray painted on the nearby wall.

  69. Hegar says:

    He is what I call an “honorable defeatist.” He feels doomed to failure, so to salvage some sense of agency and worth, he wants to take control of the process and destroy himself over a matter of principle.

    Honoreable defeatists, I’ll have to remember that.

    Two conservatives and a cuckservative walk into a bar. Each wants a different brand of beer. They find out that they have to pay in cash, so they pool their money, and have enough for only one brand.

    “I won’t get exactly what I want, but at least it’s something,” say both conservatives.

    The cuckservative grabs the money, burns it and runs out, shouting “I win on principle!”

    Or you could replace that with a story about serious nationalists, and holier-than-thou types who opposed Trump in 2016, the only anti-immigration candidate, because of his shortcomings. “I won’t vote for him! He supports Israel!” Let’s make sure everyone sees an anti-immigrant candidate can’t win, and have Hillary elected instead, then you really win on principle.

    Or it was just a way for them to sound superior while they were too lazy to read up on the many issues, sort out what to support and what not to support. That was too much work. Being against everything is easy. Saying everything is bad is easy. Many people think cynicism and “pushing it ALL off the table with a sweeping gesture!” looks intelligent.

    I’m sure there are those among the Taliban who refuse to negotiate with Kabul and the American occupiers, too. While others tell them it’s better to not fight American soldiers, agree to a power-sharing deal – better than just go on like before forever. A new situation will bring new opportunities.

    “Traitors! You’re traitors to the cause!”

    ISIS had that attitude, and ISIS is gone.

  70. @Priss Factor

    Great comment. Thanks for taking the time to write it.

    “… Sixties as a cultural phenomenon began with the death of John F. Kennedy and coming of the Beatles. Loss of innocence, rise of radicalism, and youth hedonism …”

    The Sixties was the decade that Western Civilization just gave up, probably from moral exhaustion. All norms were discarded in a rush to “personal freedom” that is actually the worst form of tyranny. It’s been downhill ever since, despite the apparent material and technological progress. Some of the last great technical triumphs occurred in the 1960s, only to be replaced by worthless gadgets that only serve the West’s metastasizing narcissism. We are living the logical and brutal consequences of the events of that decade now. Travis Bickle is Western man, confused and rudderless, trying to find a replacement for the cultural tools needed to control man’s basic urges, tools discarded by society a decade earlier. He’s a tortured anachronism, trying to live a noble life, but amongst prostitutes and other scum. Ironically, however, he is not a sympathetic character. He’s a parody of what came before.

  71. @Schuetze

    ” Just look at the life of bull dyke Jody Foster to get an idea of what kind of effects this filth has on developing minds.”

    Yeah, she’s a real sicko, along with her pal, that Jew-hating psycho Mel Gibson. I hate people like this so much!

    Jodie Foster on Mel Gibson: ‘I Knew the Minute I Met Him, I Would Love Him’ Forever

    “God, I love that man,” Foster says. “The performance he gave in this movie, I will always be grateful for. He brought a lifetime of pain to the character that we’ve been talking about for years, that I knew was part of his psyche and who he is. It’s part of him that is beautiful and that I want people to know, too. I can’t ever regret that.”

    https://www.hollywoodreporter.com/news/jodie-foster-mel-gibson-i-167894

    • Replies: @Schuetze
  72. @Schuetze

    “Just look at the life of bull dyke Jody Foster to get an idea of what kind of effects this filth has on developing minds.”

    You mean, leaving the business to attend Yale, graduating with a degree in French (which she is fluent enough in to dub her own parts abroad)? I get the idea that’s what’s really grinding your gears about that blonde, Travis.

    • Replies: @Schuetze
  73. 76239 says:

    “thus the instinct of the critical mainstream was to weaponize anti-heroes like Bickle against the establishment, meaning against mainstream America. There was surely some hand-rubbing on both coasts when Reagan was shot by a wannabe Travis Bickle.”

    Hinckley was from the elite. His parents were very close friends of Vice President Bush! He was no Travis Bickle in the least.

  74. @JimDandy

    I thought the joker was terrible.

    Too long, too slow and much of his character was inconsistent.

    He also lacked creativity and the wry sense of humor that made the original joker interesting.

    The movie culminates with him killing Murray with a handgun. No plan to resource all his new fans or escape in a grand plan. Just get on the show and shoot Murray in the head. Yawn.

    The creators even said they weren’t trying to create a joker movie. That was just a ploy to get it greenlighted. So the movie itself is a lie.

    • Replies: @JimDandy
  75. I wish that someone would write — or if it exists, direct me to — an essay that lays out the right-wing or “conservative” or whatever you want to call it, case for reining in “Jew Hollywood filth” while still allowing directors to make films for actual adults. Do we really have to go back to double beds for married couples, no mention of the word “pregnant,” all criminals must be punished in the end, etc.?

    The thing about “art” is one man’s masterpiece could be another man’s filth. Fritz Lang’s M must be an example of the first (if not, I don’t know how to talk with you) but could it have been made under the Hayes Code? Lang was sure it would be censored, because it contained an implicit critique of the Nazis (original title: Murderers Among Us) — criminals posing as forces of good, mass hysteria, etc. — but Goebbels thought it was great: it showed the inability of Weimar democracy to enforce order, the need for a strong hand, etc. After that interview, Lang says he got on the first train to Paris and thence to Hollywood.

    People like Evola like to sneer about freedom of speech as “bourgeois” until the Reich bans THEM. Would Mel Gibson be able to make his “right wing” movies under what, in America, would be an Anglo-Puritan theocracy? (Hint: he’s Catholic, hence a tool of the Whore of Babylon, so no; imagine Pat Buchanan or E Michael Jones or Nick Fuentes having to knuckle under to some white-shoed, leisure suited Lord Protector).

  76. JimDandy says:
    @Jefferson Temple

    Yeah, you don’t see Antifa waving Palestinian flags or firebombing Israeli embassies much, do you.

    • Replies: @Jefferson Temple
  77. @Alfred

    The old man and the nubile girl look like Nepalese from the old geezer’s cap… are they?

    • Replies: @Alfred
  78. @Dumbo

    As for Hannibal, the “glamourizing” began with Silence; Michael Mann’s Manhunter is a whole different kettle of fish:

    Will Graham: This started from an abused kid, a battered infant. There’s something terrible about…

    Jack Crawford: You’re sympathizing with this guy?

    Will Graham: Absolutely. My heart bleeds for him, as a child. Someone took a kid and manufactured a monster. At the same time, as an adult, he’s irredeemable. He butchers whole families to pursue trivial fantasies. As an adult, someone should blow the sick fuck out of his socks. Does that sound like a contradiction to you, Jack? Does this kind of thinking make you uncomfortable?

    I guess it make Unz readers uncomfortable (don’t worry, being represented in the film by Dennis Farina is an honor!) Blowing the sick fuck out of his socks is a “right wing” sentiment worthy of Dirty Harry or Paul Kersey (the fictional one not the blogger). I suppose the glamourizing or sympathizing is “left wing”. A great film like Manhunter explores the contradiction. That’s why the money-grubbing producers had to refilm it as Red Dragon so as to have a single, uniform viewpoint.

    Another fun fact: Producer Dino De Laurentis made Mann change the title from Red Dragon because earlier DDL had produced Cimino’s Year of the Dragon, which was a huge bomb, so “no more dragon movies”. Cimino’s film (screenplay by Oliver Stone) is likely the most BASED movie ever, (imagine Dirty Harry takes on New York’s Chinatown) which at the time no doubt added to the failure at the box office.

    More on Manhunter: https://counter-currents.com/2013/12/awakening-through-repetition-part-2/

  79. Schuetze says:
    @Peter D. Bredon

    “attend Yale, graduating with a degree in French”

    Do you really think that is an accomplishment? Yale for a French degree, or Yale for the mind control refresh? Especially after you played a child-whore on the screen corrupting millions of young girls across the planet and then turn around and start humping your girls? Sheesh, these hollywood sycophants are unbearable.

    • Replies: @Chris Mallory
  80. Schuetze says:
    @James O'Meara

    What a schitzophrenic comment. Foster is good, Gibson is bad? Foster and Gibson are bad? Gibson is good, Foster is bad? Both Foster and Gibson are good? Pullleassse make up your mind and then make a comment that someone can understand and reply to.

  81. Stanlee3 says:

    Can anyone give me a link to an essay that I think was published here called “movies Josef Goebels would have approved of”?

    • Replies: @Trevor Lynch
  82. @Trinity

    2. Death Wish * the original, all the rest were total shit, should have had more nonwhite thugs instead of Hollywood injecting token White thugs.

    This is what I don’t like about Death Wish or Taxi Driver.

    Taxi drivers during that time would have been worried about getting shot by a Black criminal. Showing a driver angry about pimps and perverts ignores the violent threat they faced.

    Scorsese undoubtedly knew this but like all movie producers would not touch Black crime with a 10 ft pole.

    Death Wish is totally ridiculous as they take this to an absurd level with White gang members acting like zombies.

    With that said it is possible that White people would get upset about a movie that realistically deals with the Black crime increase during the 60s/70s (after integration). These movie producers are selling fantasy after all. Maybe White people don’t want to think or deal with the Black crime problem or race in general when they are paying to be entertained. White people are normally incapable of even talking about racial crime statistics in any context so I don’t doubt a realistic movie would probably flop.

    • Replies: @Peter D. Bredon
  83. Requesting reviews for the following:

    Southern Comfort

    Network

    Three Days of the Condor

    Parallax View

    Rollerball (the 1970s version)

    • Replies: @Trevor Lynch
  84. @Schuetze

    Dirty Harry is getting close, but Eastwood never names the jew in any of his movies, so really he is just dancing around the 800 lb. yid Gorilla while looking the other way.

    Dirty Harry was written and directed by Don Siegel.

    Clint Eastwood is a race denying Libertarian and would be offended by this entire thread.

  85. @JimDandy

    No, you don’t. They seem to actually love all things fascist. They say this is the way of occultism. Turn everything they say backwards or upside down, if you want to know what the dark magicians really think.

  86. Gangs of New York is a pile of shit. BLM is right wing according to your retarded definition.

    • Thanks: Rufus Clyde
    • Replies: @flyingtiger
  87. @follyofwar

    Joker is an anti-white Antifa recruitment video created 100% by Jews.

    • Agree: Trinity
  88. roo_ster says:
    @sally

    Nah, shower-gassing is a bunch of hooey. And any “lessons learned” from the fiction are also hooey. The Nazis surely did kill millions of civvies, but used more pedestrian means: worked to death, death squads, malnutrition, etc. No need to invoke fiction when reality is horror enough to do the job.

    • Replies: @RobbnHawk
  89. @Miro23

    National Review used to run lists of 100 best conservative films, and the result was trite, banal, predictable, partisan, jingoistic, etc. It lacked imagination, movie knowledge, and understanding. It was the sad product of GOP hacks.

    What should be the formula for an alternative list? We shouldn’t favor a film simply because most conservatives like it. Nor should a film be favored because it was made by a conservative. A leftist can make a conservative film just like a Jew or atheist can make a Christian film. Some of the greatest westerns were made by Europeans who knew little of the real West.

    We should be careful not to confuse conservative ideology with conservative sentiments. Take THE LEOPARD. The novel is conservative by ideology, but it was directed by homo-Marxist Visconti who didn’t share in the ideology but in the sentiment, as he too was of aristocratic lineage. Visconti recognized what was beautiful and noble about tradition, especially because it had faded from history.

    In discussion of the Right, we should try to make distinctions among ‘conservative’, ‘libertarian’, ‘fascist’, ‘reactionary’, ‘tribalist’, ‘patriotic’, ‘populist’, and ‘authoritarian’. First, how is conservatism different from reactionism or fascism. Both reactionism and fascism are pro-active whereas a certain gentlemanly or dignified passivity defines conservatism. Reactionaries single-mindedly seek to turn back to clock, to reclaim what was lost. They see the past as a golden age or they see the present as so awful that they prefer the past by default. They actively try to destroy or suppress ‘progress’ whether it be economic, political, technological, or whatever. Fascism is trickier for it incorporates elements of both right and left. It combines respect for the past with enthusiasm for the future. It fuses the virility of paganism with transcendental aspirations of high civilization.

    While reactionism, conservatism, and fascism can be said to belong on the right of the social or political spectrum, they are not synonymous. This is especially tricky in the current West as what passes for conservatism is free market capitalism, the most dynamic and revolutionary force in history. Marxists can dream up all the utopias they want. All truly lasting revolutionary economic, social, scientific, and political innovations and changes have arisen from capitalist forces. Even social-democratic nations have economies fueled by capitalism. So, what kind of a conservative is it that espouses the most dynamic and revolutionary force the world has ever known?
    The current conservative basically conserves the the most powerful engine of socio-economic change. Take China and India. Since they’ve adopted capitalism and free markets, they’ve been changing at breakneck pace. Ideologically, one might say they’ve turned ‘conservative’ in having abandoned socialist or communist ideologies. but, ‘conservative’ capitalism is changing those nations like nothing ever before.

    A more meaningful definition of conservatism can be thus: the idea that reverence for the past, preservation of cultural heritage, the longing for what is lost, and related sentiments do matter. A conservative is different from a reactionary in that he accepts change as organic and inevitable. In contrast, the reactionary doggedly clings to the past. A conservative understands that change is an organic part of history. However, instead of merely celebrating change, he remembers what was lost as well. It’s like every person has to grow up and change, but there are those who look back and remember as well. The young brat in THE MAGNIFICENT AMBERSONS is a reactionary, if only for egotistical reasons. Change threatens his sense of privilege and place. In contrast, the Joseph Cotten character is an innovator with conservative leanings. He knows technology will change the world(and the forces cannot be stopped), but he acknowledges that it will destroy much that is charming and traditional. He brings change but also remembers how it used to be.

    [MORE]

    What sets a conservative from a liberal is he is less willing to simply dump or forget traditions or established conventions. His feelings are more invested with the past or the status quo; it isn’t just a matter of power or privilege; he may be poor but feel more at home with the ‘old ways’; in this sense, a poor evangelical in America or poor Italian Catholic woman who resists change despite its economic benefits can be said to be conservative; he or she doesn’t define meaning simply by materialism but by a cultural vision of what is virtuous, sacred, noble, etc.
    Even if the New Order offers free money in exchange for support for ‘gay marriage’, the poor evangelical or catholic will refuse. For such folks, the vision of society is as or more important than economic status or power. another way to define conservatism would be a search for some core values–in the absence of such–, a desire to set down firm roots, to possess a moral compass in life.
    Also, conservatives have core principles that are less likely to be abandoned for the sake of individual advancement. Given the National Review crowd bend to just about every new trend, they’re more libertarian(all about individual interest) and/or authoritarian(in total obeisance to the reigning power that happens to be Jewish).

    AMORES PERROS can be said to have conservative themes–though it isn’t a blatantly conservative–in its rejection of moral relativism and a vision of a world defined solely by radical ideology or divisive money. This isn’t to say liberals are immoral or amoral vis-a-vis conservatives. The difference is liberals are less interested in core values(though they are not without loud passions based on idolatry and fashions). Liberals find the idea of core values as too stuffy and rigid; they claim to seek the higher or better truth based on progress and in rejection of traditional dogma–though they seem to have established their own orthodoxies thru political correctness.
    Liberalism can be daring and useful but also fall into the conceit of ‘progress’, as if everything new is automatically better or ‘more evolved’, such as trannies are ‘real women’.

    Conservatism, though seen as an enemy of relativism, gains meaning within a relativistic context. For example, a communist in the Russia of the 90s could be said to be conservative in wanting to restore or preserve what has been developed and established during 70s yrs of communism. At one time, Christianity was a peripheral and radical faith; then it became the mainstream doctrine and ‘conservative’ credo of the Empire. So, conservatism isn’t just about ideology or values. It can also be about the state of mind, a sense of revering what has come to defined a community.
    A man can be of leftist ideology yet of conservative personality/mentality/temperament or be of rightist ideology yet of liberal personality/mentality/temperament. We are largely defined by the ideology we grow up under, yet our personalities and inclinations define how we deal with our handed-down spoon-fed values. Newt Gingrich was ideologically conservative but had a rebellious, even somewhat radical, streak in his personality. And there were Democrats like Mayor Richard Daley who were on the Liberal side of politics but possessed the conservative personality. A conservative is less likely to look upon the past and feel smugly superior; of course, he may feel snugly superior with old fashioned or family values.
    Some conservatives feel it’s their duty to counter the rapid pace of change pushed by liberals. Or, a conservative(especially in the US) struggles to balance the implication of his own ideology. As a free market capitalist, he realizes his favored economic system is culturally upending much that he values. As such, he may feel that a counter-value system is necessary to tame the wild bull of capitalism. Use capitalism for material production and distribution but maintain a culture independent of capitalist forces. No wonder the US illegalized gambling for most of its history despite being profit-oriented. Communities and churches said NO to such vices. But over the years, they’ve all been co-opted by capitalist forces. Leftists and liberals used to counter capitalism with a degree of socialism, but socialism died with decline of Labor in the global marketplace, and the ‘progressive’ idea of controlling capital is to make it bow down to the idolatry of Jews, homos, and Negroes. I’ve no idea how Wall Street flying the homo flag has any meaning or relevance to most people, but then, as so many people have been led to embrace globo-homo as their New Faith, they seem to find meaning in that, along with BLM.

    In a sense, a modern conservative is at war with himself. Conservatism has a certain sentimentality for the past, for traditions, for established conventions, for long standing rituals. However, conservatism doesn’t have a clear agenda like reactionism does. Nor does it have the quasi-radical edge or the fighting spirit of fascism. Conservatives come in many shapes and sizes. Some resemble reactionaries. Others tend to be liberal-ish. But, even the liberal-ish conservatives who realize change is necessary feel that the arrival of the new, though beneficial to society overall, will lead to the loss of something invaluable. There is an elegiac sense accompanying the acceptance of progress. It’s there in MAKIOKA SISTERS and THE MAGNIFICIENT AMBERSONS. Neither film says the past was perfect or paradisiacal, but it eulogizes what had been paved over by progress.

    What about libertarianism? There is very little love or reverence of the past in libertarianism, which is like free-market-fascism-of-the-individual. If Italian Fascism said there is one Mussolini and all must gather around him, Ayn Randianism says everyone should be a his or her own Mussolini(or he or she must worship the lone Howard Roarks of the world). Rand had zero respect or love for American or Russian heritage. For her, America = individual freedom. She couldn’t have cared less about folks in small prairie towns who wore Sunday best for church in the 19th century. The only America that appealed to her was NY with its skyscrapers.

    Interestingly enough, some of the greatest films ever are conservative themed yet made by liberals. Why? Maybe because liberals are artistically more curious and daring while conservative themes are meatier and more substantive. Art works thru tension, so maybe the friction between liberal curiosity and conservative density can make for great art. A liberal making a liberal movie would merely be pushing the envelope. But a liberal working with conservative themes makes for creative tension, for dialectic sparks to fly.
    Also, power, privilege, and sanctity–themes of conservatism– are more interesting and alluring than do-goodery and social consciousness. A leftist revolutionary can be exciting material for a movie BUT he always has to be doing something. A leftist is interesting for his hyper-activism.
    A conservative, at least one of gravitas, is interesting simply for what he is. A leftist is trying to make the world conform to his meaning. A conservative already has meaning in the world. The aristocrat in THE LEOPARD is automatically regal and majestic. In contrast, a leftist revolutionary has to constantly throw bombs or make speeches.
    The king is interesting because he has power and a castle. His very being carries weight. But a radical is interesting only in action.

    One may argue that film is essentially a conservative artform in one sense, though common wisdom says it’s the most democratic artform; film is democratic in the sense that it’s mass entertainment pandering to the masses. But, most movies create larger-than-life-heroes. Rightism is distinct from leftism in the acceptance of hierarchy whereas leftism is egalitarian. Cinema, by its very nature, privileges and magnifies some over others. It’s never all-inclusive. If your kind is left off the screem, they might as well not even exist.
    To be sure, there are different kinds of hierarchicalism: blood, merit, or credo. Aristocracy favors hierarchy by blood. Capitalism favors hierarchy by ability. Communism and Theocracy favors hierarchy by credo, or ‘red over expert’, a slogan under Maoism.

  90. One wonders, though, why Travis continues to subject himself to this world.

    I wonder the same thing about you Trevor.

    I don’t understand why a talented writer would spend so much time critiquing the fictional world of Hollywood. None of it is real so I don’t understand why it deserves so much analysis.

    All Hollywood movies are liberal to some degree because they have to work within the current culture and that culture has been spoon fed all sorts of lies that are accepted as truth. This includes most conservatives.

    If you made a movie called The Real Wakanda the GOP/Fox News conservatives would at best say nothing while liberals would engage in character attacks against the creators for showing the public uncensored aspects of reality.

    Actually if you really wanted to make a film from a right-wing perspective just stick a live cam in the Tenderloin district in SF. Someone actually did that until a gang figured out who he was and made him take it down.

    For the record I don’t identify as conservative or right-wing. I have no problem with “big government” if the right people are in charge.

  91. @Dumbo

    “Even though the character of Travis Bickle shows revulsion about the “skanks, filth”, etc, the film wallows in the same universe of moral decrepitude, titillating the viewer with pedophilia, porn and violent images…. The culmination of this “progress” must have been Tarantino’s pal Eric Roth’s “Hostel” series… I was wondering what Trevor Lynch thinks of a series like “Hannibal” (both the movies and the more recent series with Mads Mikkelsen), where the main character is a cultured, intelligent psycho-killer whose murders and tortures are portrayed as some kind of artistic endeavour – and not the only one, as practically each episode has a different psycho killer whose methods are absurdly grotesque. (Actually, it is interesting this elevation of the character of the “serial killer” that started in the 80s, showing them as clever or interesting people, when mostly they are deranged sickos of low intelligence and even less culture, and usually homosexual.)”

    This litany is typical of the “conservative” in either his ignorant mode — unaware of the actual contents of literature from the Bible to Homer to Shakespeare to Dante — or else in his censorious mode, Bowdlerizing Shakespeare — we can’t have Glouster’s eyes gouged out, Cordelia must live, Hamlet must not talk so nasty to his mother, etc.

    As for serial killers in particular, they are a rather new feature of the modern world (although opinions now differ on their newness) and it is interesting, not mere titillation, to see how they instantiate the archetype of the wily monster, which goes back to what, Grendel (oops, cut the “gratuitous” horror of his arm being torn off), wily Ulysses (cut that part about blinding the Cyclops), or more recently Jack the Ripper, Prof. Moriarty (a clear source for Lecter), Fu Manchu (I recall a high school teacher, a priest, recalling the thrill of the old pulp novels, in one of which a prisoner of Fu’s tries to escape, only to find that the last step of his ladder is a razor blade, which neatly cuts off his fingers, leaving him to fall back into the pit: we see this in Silence as well as the Saw franchise and perhaps the pit in The Dark Knight Rises), etc. Oh, and the suave, “continental” monsters, like Dracula or the Phantom of the Opera, a clear inspiration for Demme’s version of Lecter (take a look at his absurd prison, a Gothic dungeon).

    As Trevor Lynch has pointed out elsewhere, it is characteristic of our times that “right wing” or “traditionalist” ideas are only allowed to be heard, if put in the mouths of “cultured, intelligent” bad guys, whether serial killers or supervillians.

    And the Bible! Goodness, Taxi Driver has nothing on Ezekiel 23:20! Take a look at how dozens of translators have tried to render the nuances of its filth:

    https://www.biblegateway.com/verse/en/Ezekiel%2023%3A20

    • Replies: @Dumbo
  92. JimDandy says:
    @John Johnson

    With all due respect, tell it to someone who cares what you think about Joker. Did you actually read my comment? Beyond matters of subjective personal taste, your totally obtuse final paragraph is all the evidence I need to know that it would be a total waste of time discussing any of this with you.

    • Replies: @John Johnson
  93. @Priss Factor

    A badly needed and useful overview. I for one will be stealing the “smugly superior” vs. “snugly superior” meme.

    “Art works thru tension, so maybe the friction between liberal curiosity and conservative density can make for great art. A liberal making a liberal movie would merely be pushing the envelope. But a liberal working with conservative themes makes for creative tension, for dialectic sparks to fly.”

    In an earlier comment I quoted this passage to illustrate how Manhunter is a great film, while the other Hannibal films are just more or less good entertainment.

    Jack Crawford: You’re sympathizing with this guy?

    Will Graham: Absolutely. My heart bleeds for him, as a child. Someone took a kid and manufactured a monster. At the same time, as an adult, he’s irredeemable. He butchers whole families to pursue trivial fantasies. As an adult, someone should blow the sick fuck out of his socks. Does that sound like a contradiction to you, Jack? Does this kind of thinking make you uncomfortable?

    • Replies: @Jefferson Temple
  94. Anonymous[951] • Disclaimer says:

    I will venture to offer an alternative view…non political may be even “out there”. Th first time I saw Taxi Driver I was about 21yrs old having hard erections every five minutes and very very lonely. I saw the movie and kept wondering IF only Betsy would feel some sort of compassion, empathy for Travis..what would be the harm if Betsy would had sex with Travis…an innocent sexual encounter…Maybe that would had prevented Travis downward spiral into an abyss of violence and its aftermath. I learnt not to voice my opinions so openly, I was once commented in a psychology class that one of the most human aspects of our very existance being SEX and its psycho/social development is left to chance, taboos, myths frat house outlandish fantasies…why? I said that quite the contrary we (men/women) should have access to SEX teachers/therapists in our early youths specially those of us unable to communicate our feelings emotions our sexuality openly (normally?). I even missed my prom because the girls I asked all said no, later on a girl classmate of mine told me that she didnt go either…she kept waiting for me to ask…I wonder why she did not asked me?? …I guess providence took pity on me I was 25 and I found my first girlfriend she was 17 and we had sex incessantly…My peperoni face clear, my muscles stretched, I developed a Vshape torso…SHE saved my life literally… I keep wmdering about those Travis(es) out there IF only there was a legal/legitimate/ way to reach out to a trained professional sex partners/therapists..(surrogates?)…I read that in the former soviet Union the Secret Services encourage legal burdelos and used them for “intelligence” purposes..sounds fake..?

    • Replies: @JackOH
  95. @Stanlee3

    Can anyone give me a link to an essay that I think was published here called “movies Josef Goebels would have approved of”?

    There is no such essay. But see my reviews of Cabaret, Quiz Show, Miller’s Crossing, and Barton Fink.

  96. @John Johnson

    “Taxi drivers during that time would have been worried about getting shot by a Black criminal. Showing a driver angry about pimps and perverts ignores the violent threat they faced. Scorsese undoubtedly knew this but like all movie producers would not touch Black crime with a 10 ft pole.”

    Up to a point, as one of Evelyn Waugh’s characters likes to say. Scorsese/Shrader might reply that they aren’t doing a documentary, or even a “realistic” film; rather, Travis sees himself as being on a quest (and knights, however chivalrous, did a lot of killing). He’s not a taxi driver driving down the mean streets of 70s NYC (*) but an Everyman searching for something to give meaning to his life.

    Lynch mentions something I hadn’t really noticed before: he meets Iris first, but only fixates on rescuing her after the porn theater fiasco with Shepard. He’s looking for a blonde woman to rescue, it doesn’t matter who.

    Arthur Miller said that at the premiere of Death of a Salesman, he overheard two theater-going salesmen afterwards saying “I always said that New England territory was tough.”

    (*) “Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero…” Raymond Chandler; of course, Scorsese/De Niro’s joint debut was Mean Streets.

  97. @VaDa

    A Viet Cong flag can be seen hanging in the background of his apartment and, in his confrontation with Betsy’s coworker, he is wearing a jacket with military patches.

    Such things are also consistent with Travis merely being a LARPer and fantasist.

  98. @Lot

    In a way, crime-ridden Manhattan of the 70s and 80s was a sign of relative equality. It has the best physical infrastructure in the Western Hemisphere, and was occupied by untamed proles rather than a playground for the world elite.

    More a manifestation of egalitarianism than equality. The untamed proles were mostly feral blacks allowed to run rampant. These people turned out to be biological weapons cleansing American cities of the white middle and working classes.

  99. @notoneofthem

    I am planning to review Dirty Harry.

  100. @Temporary Insanity

    Honorable defeatists are people who defeat themselves on some pretext that gives their self-destruction an odor of heroism and high principle. The pretexts don’t need to be true or make sense.

    • Replies: @Temporary Insanity
  101. @TonyC

    Conan the Barbarian is a definite one. Will think about some of the others.

    • Replies: @syonredux
  102. @Jefferson Temple

    The Hinckley-Bush connection is absolutely factual.
    “The newspaper said in a copyright story, Scott Hinckley, brother of John W. Hinckley Jr., who allegedly shot Reagan, was to have dined tonight in Denver at the home of Neil Bush, one of the vice president’s sons.”
    http://www.hereinreality.com/hinckley.html#.X_DrXCMrIy4

    I see the dinner converstaion, had the attempt succeeded, running something like this:
    “The President was shot and killed and now my Dad is the President.”
    “Wow! My brother shot and killed the President! What a whacky coincidence!”

    • Thanks: Jefferson Temple
  103. As for right win films — The Player

    I don’t see the depth and angles in Taxi Driver as many have noted.

    An exploration of a loner cabbie who operates in the underbelly of New York City with its real life night characters alive and well bumping into each other or passing along the way to just making a living the way they know how. Juxtaposed against the backdrop of the landscape of politics served b the everyday normal “upstanding” citizens cut off from the real live that millions lead in the same city.

    Meanwhile, and underage girl one among many are being bought and sold for entertainment. The taxi driver is merely seeking a place of recognition and meaning among in the milleux.

    Another exploration of the the underbelly —

    Mean Streets

    also full of contradictions colliding or bypassing one another. It was part of the rebellion of the early sixties new crop of young directors — to delve into darker fairs of real life as part and parcel to “normalcy”.

    • Replies: @EliteCommInc.
  104. @sally

    So the rest of the eight or ten or so remain content to march right along in the orignal line with their soap and towels despite knowing that they are on their way to experience the deadly gas?
    Did that fable come from this guy?

  105. @Priss Factor

    It was the sad product of GOP hacks.

    The same could be said for much of American society.

    • LOL: John Johnson
  106. Dumbo says:
    @James O'Meara

    So… Roth’s “Hostel” is the equivalent of Dante and Shakespeare? Is that what you’re saying?

    I don’t really get your point… Great art can use horrific moments of sex or violence… So what? It is not related to modern cinema and in particular the “serial killer” or slasher genre who has very little artistic content, I would say… Just because some great art can have graphic violence and sex, does not mean that all works with lots of violence and sex are artistic.

    Also, I couldn’t care less about “right wing” platitudes proffered by villainous characters… Actually, I couldn’t care less about “right wing” or “left wing” movies, as great art goes beyond that. Films with political or social messages usually already start on a lower level, be they right or left wing. Most soi-disant “conservative” films suck, by the way.

    I said I like Taxi Driver… But, it does use sex, gore and violence to captivate the viewer, despite the possible opposite moral lesson that it might or might not be trying to teach. And before the 70s, a film with a similar theme would be filmed in a different way. Better or worse? Hard to say… Despite dealing with dark themes, most noir movies are much less graphic in terms of sex and violence imagery, but some of them are masterpieces nevertheless… Sometimes less is more.

    • Thanks: Rufus Clyde
  107. Have watched several times. Dark, depressing and hopeless with a flash of comic irony at the end when he becomes a hero to the world despite himself! I nominate, Butch Cassidy and the Sundance Kid for your excellent review skills!

  108. @James O'Meara

    Manhunter was made prior to Silence with Hopkins’ iconic performance. I kind of agree with your assessment that the rest of the Hannibal offerings are just entertaining but there is still something great about the character of Hannibal Lecter per se. At a basic level he is an update of the mad scientist. Jekyll and Hyde if Jekyll is a mere face worn by the ever present Hyde. The evil Id has taken complete control but learned to seem human.

    I prefer Mikkelsen as Hannibal. He envisioned the character as Lucifer from the outset. The killer fancies himself to be above humans as humans are above livestock and he treats them accordingly. Only those who are polite or worshipful of him will survive. In this version, when asked what happened to him (to make him a monster), he replies “nothing happened to me. I happened.” This surely counts as a conservative portrayal. Evil simply exists.

  109. Some ‘right-wing’ films.

    CONSERVATIVE: Accepts change as natural but mourns the loss and tries to slow down the pace of change.

    Life with Father

    LIBERTARIAN: Rejects leftist egalitarianism and dogma but is also hostile to any conservative sense of community, nation, and/or tradition. Obsessed with individuality and property rights.

    The Fountainhead
    Wall Street
    Wolf of Wall Street
    Risky Business
    Thank You for Smoking

    [MORE]

    HEROIC: Pushing beyond the limits and endurance of ordinary men, even unto madness.

    To Live and Die in LA
    Lawrence of Arabia
    Rudy
    The Natural

    FASCIST: Neo-pagan and mythic and/or favors creative interaction of systems than single theory or dogma. Fascinated with themes of virility and beauty and the barbaric energies buried within civilization and with the machinery of power and domination. Even anti-fascist films can be fascinated with fascist themes.

    The Last of the Mohicans
    13th Warrior
    Star Wars
    Laputa: Castle in the Sky
    Bubblegum Crisis 2032
    Blade Runner
    Princess Mononoke
    Apocalypse Now
    Gohatto(aka Taboo)
    300(in a bad way)
    2001
    Wolfen
    Emerald Forest
    Hellstrom Chronicle
    Himatsuri
    Personal Best
    Investigation of a Citizen Above Suspicion(antifascist film keen on fascist psychology)
    Wicker Man

    MACHIAVELLIAN: Understands the essentially gangster-nature of power. Cynical but realist.

    House of Games
    Glengarry Glen Ross
    Miller’s Crossing
    Yojimbo
    For a Few Dollars More

    PARANOID: Paranoia can be leftist but has also defined the right.

    The Manchurian Candidate
    The Thing
    The Body Snatchers movies – Siegel, Kaufman, Ferrera
    Nixon
    Spartan
    Eyes Wide Shut
    The Birds(anxiety of the looming Sexual Revolution)
    No Way Out
    Homicide(Mamet)

    TRIBALIST: Centered on “Is it good for our people?” Tribalism can be capitalist or communist. Israel is capitalist but tribal. North Korea is communist but tribal.

    A Serious Man
    Masada(TV series)
    Geronimo An American Legend
    Sometimes a Great Notion
    The Long Riders
    The Warriors
    Utu
    Homicide(Mamet)

    PATRIOTIC or NATIONALIST: Somewhat different from tribalist, which has clearer sense of ethnos. Patriotism and nationalism can be based on shared history, ideology, or rule. Soviet patriotism, for example, wasn’t simply about Russian ethnos but multi-ethnic collective fight for the Motherland.

    Ivan the Terrible I & II
    Kolberg
    Battle of Algiers
    Gettysburg
    El Cid
    Gardens of Stone
    Siberiade
    Patton
    The Right Stuff

    IMPERIALIST or supremacist: It’s a kind of rightism that revels in the glory of conquest and domination.

    Alexander (Stone)
    Man Who Would be King
    Lawrence of Arabia

    SURVIVALIST:

    Deliverance
    Jeremiah Johnson
    War of the Worlds(Cruise)
    Straw Dogs

    PRIDE OF EXPERTISE: Liberalism led to the over-production of elites who know books but don’t know how to fix anything. At least Joe the Plumber can fix the sink.

    Rio Bravo (Howard Hawks’ corrective to HIGH NOON on how real gunmen should act.)

    Day of the Jackal.

    https://www.youtube.com/watch?v=AszR86cDuNo&ab_channel=2KevinswithGrace%26Steel

    POPULIST: Populism can be leftist or rightist, but the common man is more likely to go with gut feelings, usually regarded as ‘atavistic’ or crude.

    All the King’s Men

    FOLKISH: An appreciation of small folks and their struggles.

    Heartland
    Coal Miner’s Daughter
    Emigrants
    The New Land
    Here’s Your Life
    Tree of the Wooden Clogs
    Roots(the original TV series)
    Siberiade
    Sometimes a Great Notion
    To Live(Yimou)
    Local Hero
    Hoosiers

    FOLKLORIC: appreciation of local customs & legends or national cultures prior to modernism

    Color of Pomegranates
    Shadows of Forgotten Ancestors

    MANNERS & PROPRIETY: Where manners still matter in a degraded world.

    Metropolitan
    Damsels in Distress
    Makioka Sisters
    The Sure Thing
    Wild Child(where a wild orphan is made human by education)
    Seven Brides for Seven Brothers
    Kaseki(Kobayashi)

    SUBMISSION: Rightism has a thing for hierarchy, which can be blind service and/or unthinking loyalty to the power regardless of ideology or values.

    Top Gun

    DECADENT: The kind of rightism where people are so accustomed or addicted to their privilege that they shut out the world and live in their own private fantasies. Ottoman Sultans became wrapped in their own court luxuries and intrigues. Things grew decadent. And yet, there is a certain appeal to this kind of decadence. Elvis Presley and Michael Jackson, with their vast riches, built their own palaces much like Ludwig II of Bavaria.

    The Music Room(Satyajit Ray)
    Ludwig (Visconti)
    The Last Emperor (decay of the royal court)

    NOSTALGHIC: A longing for one’s childhood, lost homeland, an earlier era, a mythic time in history, and etc.

    Diner
    Makioka Sisters
    The Long Day Closes
    Distant Voices, Still Lives
    Sunset Song
    Once Upon a Time… in Hollywood
    Hey Babu Riba
    Goodbye Lenin(where communism is the conservatism one longs for)
    Baby, It’s You (Old-style Italian-American romantic in the heady 60s)
    Age of Innocence
    American Graffiti
    Dazed and Confused
    The Last Picture Show
    Two English Girls
    Atlantic City
    My Mother’s Castle
    My Father’s Glory
    Amarcord
    Days of Heaven

    TRAGIC: A generally pessimistic and gloomy outlook on history, life, and existence.

    Harakiri
    Aguirre the Wrath of God
    Kagemusha
    Ran
    Mothman Prophecies
    Katyn
    Siberiade
    Quiet Flows the Don
    The Onion Field
    Prince of the City
    Chinatown
    Year of Living Dangerously
    Danton
    Man of Marble
    Le Combat dans L’ile
    Young Lions
    Days of Heaven

    SPIRITUAL: Religious ritualism or spiritual contemplation.

    Kundun
    The Silence(Scorsese)
    Stalker
    Nostalghia
    The Sacrifice
    Ordet
    Passion of Jeanne D’Arc
    Au Hasard Balthazar
    Prince of the City

    NEO-BARBARISM:

    Animal House
    One Flew over the Cuckoo’s Nest
    Husbands
    Dazed and Confused
    The Wanderers(Kaufman)

    NEO-ROMANISM: Authoritarian Defense of Order and its human cost

    Dirty Harry
    New Centurions

    BEAUTY: Appreciation of beauty in life, love, arts, nature

    Tess
    Vertigo
    L’Appartement
    A Sunday in the Country
    Baraka
    Earrings of Madame De…

    PERSONAL CONVICTION/CONSCIENCE or MORAL STRUGGLE:

    From Here to Eternity
    Hacksaw Ridge
    High and Low
    Shane
    The Big Country

    ANARCHO-CYNICALISM: Too wild to be conservative but too cynical to be naively libby-dib

    Ghost World
    Art School Confidential
    Sleeper
    Bananas
    Sherman’s March
    A Clockwork Orange

    HONOR and DIGNITY:

    Carlito’s Way
    Friend(Korea)
    Taps
    McCabe and Mrs Miller

    • Thanks: Rufus Clyde
    • Replies: @Dumbo
    , @Dumbo
  110. Great review. Looking forward to your take on Twin Peaks: The Return.

    Some suggestions for future reviews I think jive with your particular perspective:

    – Babett’s Feast
    – The Whit Stillman “Trilogy” (Metropolitan, Barcelona, The Last Days of Disco)
    – True Grit (Coen Brothers remake…I’m actually surprised you haven’t done this one yet)
    – Master and Commander
    – The Long Goodbye
    – Howard’s End
    – Inland Empire (you’ve done every other Lynch film!)
    – The Cook, The Thief, His Wife and Her Lover

    • Replies: @Priss Factor
  111. @JimDandy

    With all due respect, tell it to someone who cares what you think about Joker. Did you actually read my comment? Beyond matters of subjective personal taste

    Well it’s a film discussion and as such is an open exchange of subjective personal taste.

    I think the fake joker movie is awful and should be viewed by no one.

    I’m gonna go make a movie called batman but it’s just about a guy who hangs out in a bar and complains about his life. But he wears a hood with bat ears.

    • Replies: @JimDandy
  112. syonredux says:
    @Trevor Lynch

    Some that I would especially recommend:

    Howard Hawks’ The Thing (Nominally directed by Nyby, but it’s all Hawks)

    Joe Dante’s Gremlins (Christmas parable about the dangers of immigration)

    Ozu’s Tokyo Story (Very moving)

    John Ford’s My Darling Clementine (Poignant and poetic fable about the creation of Law)

    Ford’s The Searchers (Can’t do Taxi Driver without discussing it’s inspiration)

    Powell and Pressurger’s A Canterbury Tale (True feeling for the interplay of land and history)

    Powell and Pressurger’s The Life and Death of Colonel Blimp (Has all of the “high Tory” virtues)

    Kaufman’s The Right Stuff (Hymn to the manly virtues)

    Don Siegel’s Invasion of the Body Snatchers (Idyllic small town Anglo-America threatened by dehumanization)

    Frankenheimer’s Seconds (The quest for the “authentic self” is bogus and unreal; even worse, it can be commodified)

    Scorsese’s The Age of Innocence (Not his best, but worth discussing)

    Stillman’s Damsels in Distress (Pure Burkian conservatism)

    • Replies: @Priss Factor
  113. @follyofwar

    The riots which took place on the night that Joker murdered talk show host Murray Franklin (Robert De Niro) on live TV presage the months long Antifa riots last summer. Doubtless, everyone cheered when Joker blasted Franklin’s brains out

    I didn’t cheer since while Murray was a crass character it was the Joker that insisted on doing stand-up when it was clear that he wasn’t talented.

    He tried to become famous and some famous person made fun of him. So what? Happens all the time in show business. Not a reason to kill someone. When you put yourself in the public eye you run that risk.

    The movie also offers absolutely zero message to anyone that feels isolated. Just go kill the person that insulted you. What a great message for incels…..sigh.

    There was nothing prescient about it either. The riots started with Blacks angry over a police action and that happens every other year.

    • Replies: @JxA
    , @follyofwar
  114. Miro23 says:
    @Priss Factor

    We should be careful not to confuse conservative ideology with conservative sentiments. Take THE LEOPARD. The novel is conservative by ideology, but it was directed by homo-Marxist Visconti who didn’t share in the ideology but in the sentiment, as he too was of aristocratic lineage. Visconti recognized what was beautiful and noble about tradition, especially because it had faded from history.

    Homo-Marxist or not, agreed that Visconti clearly had respect for author Guiseppe di Lampedusa’s creation of Fabrizio Prince of Salinas, and spent a lot of time with Burt Lancaster getting the character and ambience right. His Prince of Salinas dominates the screen the same way as the Prince dominated the book.

    In discussion of the Right, we should try to make distinctions among ‘conservative’, ‘libertarian’, ‘fascist’, ‘reactionary’, ‘tribalist’, ‘patriotic’, ‘populist’, and ‘authoritarian’. First, how is conservatism different from reactionism or fascism. Both reactionism and fascism are pro-active whereas a certain gentlemanly or dignified passivity defines conservatism. Reactionaries single-mindedly seek to turn back to clock, to reclaim what was lost.

    In for example, the Spanish Civil War (when the shooting started), everything on the Right was bundled together, same as everything on the Left . These were uncomfortable alliances:
    Right – Monarchists/Falangists/Catholics/Nationalists/landowners/traditional middle class/traditional rural towns and villages/split military.
    Left – Socialists/Republicans/Communists/Bolsheviks/Anarchists/Trade Unionists/landless labourers/regional independence activists/industrial workers.

    Historian Stanley Payne pointed out that the Spanish Left spend a good deal of time fighting among themselves and could never properly integrate militarily. Also on the Right they had their doubts. Hitler, for example, airlifted Franco’s troops from North Africa to the Spanish mainland and provided equipment but still:

    “In April 1938, Hitler mused out loud to Reinhard Spitzy, Ribbentrop’s private secretary: “You know, we have backed the wrong horse in Spain. We would have done better to back the Republicans. They represent the people. We could always have converted these socialists into good National Socialists later. The people around Franco are all reactionary clerics, aristocrats and money bags – they’ve nothing in common with us Nazis at all!”
    David Irving “The War Path: Hitler’s Germany 1933-1939”

    A more meaningful definition of conservatism can be thus: the idea that reverence for the past, preservation of cultural heritage, the longing for what is lost, and related sentiments do matter. A conservative is different from a reactionary in that he accepts change as organic and inevitable. In contrast, the reactionary doggedly clings to the past.

    Rand had zero respect or love for American or Russian heritage. For her, America = individual freedom. She couldn’t have cared less about folks in small prairie towns who wore Sunday best for church in the 19th century.

    No real surprise. Ayn Rand’s heritage was entirely different (Jewish).

    • Agree: mark green
  115. JxA says:

    psychoanalysis: how average people become geniuses.

  116. JimDandy says:
    @John Johnson

    Ok, but in the comment you were responding to, I was asserting that such discussions are… ah, nevermind. Anyway, as far as your problem with how the director chose to complete his assignment, well, I thought that was a pretty cool move. He made it his own, and he made a movie that I (a person with very little interest in the Batman movies that preceded it) could appreciate. And who suffered as a result? Surely not the studio, which made a massive amount of money. And it was very popular with viewers. I can see, however, how a Batman-series-purist might be disappointed, but I’m pretty sure that the director made it pretty clear in the promotional interviews what the film was and wasn’t, and how little it had to do with the Joker storylines that comic book fans were used to. It was a dreamlike, artistic riff on that character, and he was pretty upfront about that, as were the articles and reviews of the film that came out before it was released.

    • Replies: @JxA
  117. @EliteCommInc.

    correction:

    right wing (cognizant that “right wing” has gone through several transformations) films:

    The Player

    and I would add

    Red Dawn — the first one

    Predator

    Unforgiven

    Hang’em High, Outlaw Josey Wales, Pale Rider . . .

    Dirty Harry . . .

  118. Currahee says:
    @oliver elkington

    They have their computer games, porn, Facebook and dope.

  119. RobbnHawk says:
    @roo_ster

    You may have missed the word fable in @sally’s comment.

  120. JamesinNM says:

    Does absolute truth exist? What do we do when the protective structures put in place fail?

  121. prosa123 says:
    @Priss Factor

    If Dylan Roof had gone after black thugs or politicians, he would have been like Bickle. But he went to a black church where nice folks welcomed him … If he had problems with blacks, presumably as bullies or criminals, why take it out on a black church full of nice folks

    Soft target.

    • Replies: @Trevor Lynch
  122. JackOH says:
    @Anonymous

    A951, thanks for the good testimony.

    I was once commented in a psychology class that one of the most human aspects of our very existance being SEX and its psycho/social development is left to chance, taboos, myths frat house outlandish fantasies…why? I said that quite the contrary we (men/women) should have access to SEX teachers/therapists in our early youths specially those of us unable to communicate our feelings emotions our sexuality openly (normally?).

    Agree. I offered a few solutions on these pages to what I see as a real problem of guys without a good outlet for instinctual needs. Strong financial incentives (subsidies, tax incentives) for early marriage; genteel, nuanced prostitution. I was pretty much shot down by the commentariat here.

    For adult guys in the sexual “Forbidden Zone”–good intellect/low income–romantic/sexual prospects are bleak. There’s something wrong with that, but I don’t think I’ll persuade anyone that a restoration of traditionalist/conservative values would solve the problem.

    My memory of Taxi Driver is pretty dim, but I do recall it cut me to the quick.

  123. KenR says:

    The author Trevor Lynch says in the article:

    The movie is a masterpiece and deserved praise regardless of whether you think Travis is a hero or a psycho or a little bit of both.

    Really? Well okay then.

    If this is a cinematic masterpiece then cinema sucks.

    If this is a cinematic masterpiece then I applaud the currently ongoing death throes of cinema.

    Taxi Driver sucks.
    Taxi Driver is drivel.
    Taxi Driver lacks a single redeeming quality.
    Taxi Driver is bereft of purpose.

    A generation has been misled by the assurance that Taxi Driver is some kind of high art.

    Taxi Driver, worst of all, is a lie.

    • Agree: mark green
    • Replies: @Priss Factor
    , @Schuetze
  124. @KenR

    Andy Nowicki should do a remake with himself as Travis Pickle.

    Its title: Uber-Driver or Uber-Wanker. The new ubermensch.

    • Replies: @JxA
  125. Reviewers not doing their homework

    1) Taxi Driver was based on the Arthur Bremer assassination attempt: Travis first tries to kill a Presidential candidate. Had he done so, he would have been reviled as a psychotic killer. Only because he escapes the secret service is able to even “save” Iris. His crime was merely one of seeking attention & anger at his anonymity.

    2) Travis is from the Midwest. De Niro mentioned that while doing 1900 he spent time on US bases in Italy interviewing soldiers from the Midwest.

    3) We see a shrapnel scar on his back & a tattered Vietnamese flag.

    4) Kietel is not supposed to Jewish. He is supposed to be generic white trash. Keitel does not look particularly Jewish, he looks Slavic. There is no indication he is Jewish in the film at all.

    5) Travis has a drug & alcohol problem. He is popping Benzadrine & drinking peach brandy at breakfast. He mentions giving up the pills but he continues to drink. After the failed attempt on Palantine he returns to his apartment & drinks beer.

    6) Blacks are not portrayed all that nicely in the film. Most of the black women we see are hookers or furious pimps shouting “I’ll kill her” as they tear down the street.

    7) Paul Shrader was himself obsessed with porn. He made HARDCORE with George C Scott. And AMERICAN GIGOLO which has Julian Kay descending into the gay S&M leather scene in pursuit of Leon.

    8) It is vaguely suggested-this is based on Charles Whitman-that Travis has headaches because he has a brain tumor.

    Things We Learned From Taxi Driver
    __________________________

    …Someone who moves to Times Square from the Midwest will be shocked at the perversion & seediness.

    …Porno films are a good first date.

    …You can kill three people & then attempt suicide in front of police officers with unregistered illegal gun & a few months later you’ll be back driving a taxi with no legal consequences.

    …The best way to combat insomnia is to pop Benzadrine speed pills.

    …If you have headaches then killing three people is better than taking some aspirin.

    • Replies: @Wielgus
  126. @syonredux

    Howard Hawks’ The Thing (Nominally directed by Nyby, but it’s all Hawks)

    https://en.wikipedia.org/wiki/The_Thing_from_Another_World#Production

    There is still debate as to whether the film was directed by Howard Hawks, with Christian Nyby receiving the credit so that Nyby could obtain his Director’s Guild membership…
    Cast members disagree on Hawks’ and Nyby’s contributions: Tobey said that “Hawks directed it, all except one scene”[10] while, on the other hand, Fenneman said that “Hawks would once in a while direct, if he had an idea, but it was Chris’ show”. …
    One of the film’s stars, William Self, later became President of 20th Century Fox Television.[12] In describing the production, Self said, “Chris was the director in our eyes, but Howard was the boss in our eyes”.[5]
    At a reunion of The Thing cast and crew members in 1982, Nyby said:[5]
    Did Hawks direct it? That’s one of the most inane and ridiculous questions I’ve ever heard, and people keep asking. That it was Hawks’ style. Of course it was. This is a man I studied and wanted to be like. You would certainly emulate and copy the master you’re sitting under, which I did. Anyway, if you’re taking painting lessons from Rembrandt, you don’t take the brush out of the master’s hands.[5]

    Maybe the THING directed it.

  127. Another version of Todd’s Lonely Man.

  128. Lot says:
    @notoneofthem

    Mean Streets – 3 stars

    The French Connection – 4 stars

    Falling Down – 4 stars

    Dirty Harry – 2 stars. It had its moments, but overrated and too slow paced.

    Why do you say the first two are “right wing?”

    There’s a lot of right wing cinema if you include movies that glorify white male soldiers and law enforcement.

    • Replies: @notoneofthem
  129. Anonymous[227] • Disclaimer says:

    BUT thats just the core problem…being WHITE (nonjew) is not an acceptable category (identity/culture etc.) And according to the left political theology WHITE does not qualify for any legitimate discourse grivances or otherwise. Whiteness has been demonized as the main osurce of all social/economic evils. Thats what alienates young whites from withdrawing from all forms of acceptable public interaction…which other non whites such as blacks, browns, asians are allowed to express freely without restrain. Everytime I meet whites with deep sense of loss, alienation, isolation, without a legitimate right to voice their views …I wish I could tell them what I tell my other non white (pupils) GO OUT volunteer in a nonprofit (white) , start a white studies class, a film club, a magazine, an sports club, a musical etc.BUT all those options are closed to WHITES who said so???..jewishh hate for aryans anglos. so what is teh only path available underground misguided hate cult like groups, or explosive sudden violence.

  130. JxA says:
    @JimDandy

    Adults who get upset over comic books should never be taken seriously again in their lives.

    • Thanks: JimDandy
  131. JxA says:
    @Priss Factor

    As if Nowiki wasn’t boring enough, he talks really agonizingly slow with lots of fillers. It’s like being slowly murdered with a butter knife.

    Only interesting people get to talk slowly. It’s an effect, not a cause.

    • Replies: @Trevor Lynch
  132. JxA says:
    @John Johnson

    Being made fun of on TV isn’t what drove the character to kill. That was just yet another straw piled on long after the camel’s back broke.

    What made Joker such a hit was the boomer/zoomer divide. You got a messed by character who’s an obvious product of a messed up society, and then you got that same society blaming him for being messed up. It’s like blaming a dog for not training itself. Murray got what he fucking deserved.

  133. unit472 says:

    There was a piece in the Atlantic the other day that pointed out how, in the 3+ decades The Simpsons has aired the family, that once was barely holding onto lower middle class status, now enjoys a standard of living many would regards as out of reach. Decent suburban home, car, three kids with a non working mother all provided on high school educated Homer’s paycheck.

    Might we see something similar in Taxi Driver. Today’s ‘Taxi Drivers’ are committing suicide as the value of their medallions has collapsed along with their incomes but Travis made enough money to have his own apartment in Manhattan, dine out and buy his guns.

    The reality is for most working class people their standard of living has been on a decades long decline such that watching 40 and 50 year old movies depicting the lives of working class men are painful reminders of just how far they have fallen.

  134. The year of TAXI DRIVER.

  135. unit472 says:

    The 1970 movie ‘Joe’ provides an even starker view of the economic decline of working class America. Joe, a high school educated factory worker, has a comfortable house ( even though negroes have just begun moving into the neighborhood. He even chastises his wife ( who doesn’t work ) for buying a store brand bottle of ketchup, instructing her she must buy Heinz ketchup. No cutting corners or coupon clipping in Joe Curran’s world. He has nice man cave where he can sit and admire his gun collection and drink beer if he’s not down at his neighborhood tavern drinking and venting.

    • Agree: mark green
  136. Schuetze says:
    @KenR

    “Taxi Driver, worst of all, is a lie.”

    Taxi Driver is far worse than just a lie, it is just one more example of decades of MKUltra mind control being played out on gullible goyim. And worse than that, this article here and all the positive comments about this “flick” show how easily slaves are made to enjoy their enslavement, even though it is obvious that throughout the entire movie the slave owners are blatantly mocking the very slaves who paid to go see it.

    Goethe’s famous quote “None are more hopelessly enslaved than those who falsely believe they are free.” doesn’t even start to describe how appalling this goyim self loathing has become. 45 years after the making “Taxi Driver” these goy idiots still lap up every screen moment of the depraved condition that the makers of this movie have used as chains of enslavement.

    Hollywood is the cesspool of occult child sacrifice at the epicenter of all this. At least our grandparents who were hoodwinked by Hollywood into fighting 2 world wars for Zion can claim to have been ignorant of the secret programming going on by the talmudists, but the readers of Unz Review have had years of articles that tear the cover off the activities of these satanic child molesters.

    Another key leg of this heeb mind control operation is professional sports, where the entire operation bitch slaps the stupid goyim with every advertisement, every half-time show, every MSM puff piece about the buffoons called “athletes”. Taking the knee is the latest manifestation of this idiotic idolatry. To make it even more crass, the “sports” teams are virtually all in the hands of the Kabbalists, just like the Hollywood “movie studios”.

    The kabbalist owners of all of Hollywood, Professional Sports, and all the planet’s resources are programming the minds of movie and sports loving idiots with predictions of never ending waves of “covid” infections that will necessitate continual injections of nano particle laced mRNA vaccines that will change the DNA of the goyim, and even render the placenta of future mothers vulnerable to sterilization. Yet the goyim keep begging for more. The terms “Stockholm Syndrome”, “Willful Ignorance”, “Cuck” or even “Goyim” do not do these idiots justice. They are so thoroughly mind controlled that they actually take pride in being a Kabbalist tool, the same way a jewish porn producer programs 12 year old porn stars like Jody Foster.

    • Agree: Trinity
  137. Schuetze says:
    @Nancy

    Every time the talmudists want something from the “right wing”, they trot out some kind of god fearing patriot movie to gin up their support. Birth of a Nation in 1915 and Gone with the Wind in 1936 are but two examples where they played to southern sympathies to get the Scotts/Irish warriors there in a fighting mood. In the early 1960’s there were loads of super patriotic WWII war movies to keep support for Vietnam going, especially after the Kennedy assassinations. Only after the defeat of 1975 did the real mind control white guilt laden Vietnam films like Apocalypse Now, Jacobs Ladder and Full Metal Jacket hit the screens. Clearly Taxi Driver also dog piles on the Viet Vets. And of course who could forget Zero Dark Thirty sop to conservatives after “Obama got Osama”.

    The general strategy is to build up white pride and patriotism on the eve of a new war for Zion, then double down with white guilt after the war inevitably turns into quagmire or is outright lost.

    • Replies: @Priss Factor
  138. @prosa123

    If Dylan Roof had gone after black thugs or politicians, he would have been like Bickle. But he went to a black church where nice folks welcomed him … If he had problems with blacks, presumably as bullies or criminals, why take it out on a black church full of nice folks

    Soft target.

    Black churches are political institutions. One of Roof’s victims was Clementa C. Pinckney, senior pastor of the Mother Emanuel A.M.E. in Charleston, who was also a former South Carolina state senator.

  139. @JxA

    As if Nowiki wasn’t boring enough, he talks really agonizingly slow with lots of fillers. It’s like being slowly murdered with a butter knife.

    This is funny enough to steal.

  140. @Trevor Lynch

    “The pretexts don’t need to be true or make sense.”

    Not to belabor the point but if it’s only pretexts lacking in truth or sense then it’s unheroic thus dishonorable.

    • Replies: @Trevor Lynch
  141. Homer says:
    @mcohen

    Do I know you? (Flash big, stupid grin and repeat)

    then shoot the greasy pimp.

    The Best scene in the whole sorry flick.

    • Replies: @mcohen
  142. @Temporary Insanity

    By your argument, there has never been an honorable martyr for a false religion or unjust cause. I think that’s just an abuse of language. Accepting your premise, we’d just need to invent a new word for people who destroy themselves for false principles and unjust causes.

  143. “Accepting your premise, we’d just need to invent a new word for people who destroy themselves for false principles and unjust causes.”

    You’re the wordsmith, Trevor Lynch, so, I leave up to you to invent a new word but for my part, the old word “madness” will do just fine. Thank you very much!

  144. Trinity says:

    Right wing and left wing are little more than Jew creations just like the ridiculous “White Privilege.” What I see in the world of 2021, ( damn, yet another year America is currently occupied by a foreign entity) is a war of GOOD vs. EVIL, not this kosher theme of right vs. left horseshit. We have idiots out there still identifying the anti-White fascist Jewish Supremacist media, both the antiquated versions and social media controlled by Jews like Jewgle, FaceBerg, and Jewtube as the “liberal media.” I am probably closer to a TRUE LIBERAL than I am a conservative or so-called right winger. Matter of fact, what passes for a right winger today is closer to a TRUE LIBERAL before the Jew HIJACKED that term as a mind fuck tool to make it appear that all his horseshit about a implementing a multiracial society and that the Swindle Whites Movement were the right thing to do for humanity, and that all those not on board were the intolerant ones. Once again, the Jew world is the inverse of society and he ALWAYS accuses others of what he himself is guilty of every single time. The pattern hasn’t changed in, only the places have changed. Why people keep falling for this simple minded shit is beyond me.

    The establishment, at least for the last 50 years or so, hasn’t been the rich and privileged old money WASP, it has been the JEW. The Swindle Whites Movement was a watershed moment when the JEW gained total country of America. Sure, the Jew was prominent long before then going back to the days of Woodrow Wilson, but the mid-1960s is when Whitey lost all control of his country called America.

    So when I think of right wing movies I think of GOOD vs. EVIL. That is why I chose three movies like, “Serpico,” “And Justice For All,” and “The Incident” which probably aren’t considered “right wing” movies in the traditional sense along with the obvious ones like, “Dirty Harry,” and the original, “Death Wish.” Now of course most of what we see in these movies are always heavily Jewy, after all, these movies are more often than not produced, directed and written by JEWS. For example the Germans in WWII are always portrayed as evil when in fact the polar opposite is more than likely the truth. Look at the psychotic character in that piece of crapola titled, “Marathon Man” from the 1970s starring Dustin Hoffman. Never mind the fact that casting Hoffman as a long distance runner was laughable in itself. The establishment from the mid-1960s onward is the Jewish elite not WASP, so the otherwise Jewy theme of a “liberal” movie which featured the proletariat taking on THE MAN now belongs to the shrinking oppressed White man trying to save his or her country against the rising tide of color and Jewish fascism and anti-White racism. Don’t look for any movie like this one coming out soon.

    So what really appeals to TRUE LIBERALS and conservative leaning Whites alike is the common theme of Good vs. Evil, the underdog or lone man taking on a corrupt and evil system against all odds.

    On The Waterfront & One-Eyed Jacks: starring Marlon Brando

    Cool Hand Luke & The Hustler: starring Paul Newman

    Papillon: starring Steve McQueen

    Casualties Of War: starring Michael J. Fox * a very Jewy anti-White movie to a degree, but women are always the biggest casualties of war. I am sure this happened to Vietnamese women as well as Japanese women at the hands of American troops but don’t look for any movies based on the 2 million or so German women raped by “the good guys.” Lord knows that plenty of Southern women in the American Civil War suffered the same fate. Selected because the character portrayed by Fox maintains his humanity and morality while witnessing the worse of humanity.

  145. @John Johnson

    Adding on to what JxA said, a big part of the delight in Joker whacking Murray on live TV is because De Niro, a once a great actor and man of the left (like most of Hollywood), is now a has-been, plus damned unlikeable and obnoxious. Witness his oft stated desire to take Trump under the bleachers and punch his lights out.

    • Replies: @John Johnson
  146. @Trevor Lynch

    Thanks, and a special thanks for including the segment of the film when the Mao group is negotiating the details of their “reality” program. I have previously searched for that scene and could not find it. Along with the Beatty scene in “Valhalla” that scene is my next favorite. When the white lady revolutionary with the weapon absolutely loses it during painstaking negotiations and starts spouting Marxist/Maoist dogma it accurately predicts the white people I see involved in BLM. Finger on the pulse of where the race catechism was going eventually to take us.

    Catechism, dogma, and spouting Marxist scripture; it certainly sounds like a religion doesn’t it?

    Should I go into the lawyers?

    Beatrice Straight’s role as the jilted wife is an outstanding scene until William Holden presents what “the other woman” (Dunaway) is composed of and concludes with vying classical literature scripts as to how the whole tragedy of his affair unfolds. Straight just wanly smiles, after her justified outrage and warmly warns Holden, “You’re in for some dreadful grief.” Of course, this, after Holden presents every reason to be the wayward husband who has underestimated his wife’s inner passion. I am not certain why he doesn’t just begin to beg and grovel to return to his wife and home and spare himself the pain.

    And the interior of that scene, is the archetype interior of many of those 1970s New York city upper middle-class-surging-slouching-and-compromising-to-oligarchic-membership. The domiciles are cold, lifeless, shallow, a mirage; fruitless and pointless, (all those books on that bookshelf) especially in the end as one surges towards their “great getting up morning” with important matters still unanswered. Check out some Woody Allen scenes from movies of that era and a bit later into. “Interiors,” “Hannah and Her Sisters.” “Manhattan” although not in color, and of course “Annie Hall.” New York City becomes an impressive temple in all these films, but with no core, no “Holy of Holies” providing a stable foundation.

    My favorite scene from “Annie Hall.”

    another scene from “Annie Hall.”

  147. Dumbo says:
    @Priss Factor

    A good list. I would add something more by Ozu. Not sure if he would be considered “right wing”. He’s not Mishima for sure. But he portrayed the change of values in Japan from post-war period to modernity with a certain nostalgic regard, and his almost exclusive focus on themes of family, marriage and parents-children relationships are essentially conservative. Interestingly, he himsef never married or had children (neither did his most famous actress, Setsuko Hara).

  148. @Priss Factor

    If Dylan Roof had gone after black thugs or politicians, he would have been like Bickle. But he went to a black church where nice folks welcomed him. I’m no fan of Negroes, but what he did was beyond the pale. Roof’s act is more in line with the Columbine murders.

    Well someone once shot a Black leader with a 3006 and the left turned him into a Messianic figure that students are expected to worship for at least 2 weeks out of the year.

    People like Dylan Roof only create new White guilt narratives for the left.

    The media gets to choose what is covered so they will of course go over a White on Black killing for months while ignoring the daily violence against Whites.

    Violence is not the answer for dealing with the US left. Their political leaders are mediocre and easily replaceable.

    On some level, he seems a disgruntled conservative disgruntled by all the filth and corruption.

    I don’t see him as conservative. A conservative in that situation would look for another line of work after cleaning up sex goo off the seats.

    Trevor is right that he is masochist. He is more like the bottom feeders than he wants to admit. Why is he so fascinated by them? Because he shares a dark nature with them.

    Then he gets a date and takes her to a porn theater. He is disgusted by the culture and then takes a woman to a porn theater? He is just as dirty as the people that get in his cab.

    • Replies: @Feryl
  149. Dumbo says:
    @Priss Factor

    As an aside, I would recommend Mr. Unz to hire Priss Factor as resident film critic. He usually has interesting insights, and has watched more movies than anyone I know (I like movies but I don’t really watch all that many these days).

    What makes a good film critic? In my view, it’s not about assessing if the film is good or bad, or even explaining it, but more about giving you insights about things that you didn’t think before.

    For instance, I don’t agree with lots of things that Pauline Kael wrote, but her view of Kubrick movies (which she usually disliked) are interesting:

    https://scrapsfromtheloft.com/2016/09/18/a-clockwork-orange-pauline-kael/

    Trevor is OK, although his approach (“movies for white people”, “alt-right view of cinema” etc) is not something I care that much for, nor give me much that I didn’t already know before.

    Steve Sailer is even worse, his movie reviews tell a lot about Sailer’s usual obsessions about immigration, statistics etc but little about the film. Also, he seems to prefer very banal and sometimes even trite or stupid movies, films I wouldn’t even think of watching, Guardians of the Galaxy or Hidden Women.

    Of course, we can also think that the whole enterprise of “film reviewing” is a bit self-defeating, since today its production is basically in the hands of a few powerful people and 90% of what’s produced is mere drivel used mostly for propaganda, priming or mind control.

    In this sense, literature is still freer (of course, the publishing industry is also in the hands of the same powerful people, but writing a book is not as expensive or complicated as making a movie, so some dissent is more possible).

    • Replies: @utu
  150. @follyofwar

    Adding on to what JxA said, a big part of the delight in Joker whacking Murray on live TV is because De Niro, a once a great actor and man of the left (like most of Hollywood), is now a has-been, plus damned unlikeable and obnoxious. Witness his oft stated desire to take Trump under the bleachers and punch his lights out.

    I didn’t think that De Niro pulled off the character. Sure he was unlikable but that was more because of the writing. De Niro didn’t seem comfortable as a talk show host and his presence as a side character was jarring. Almost like a long cameo.

    But more importantly I do not see any reason to delight in fictional violence against a liberal.

    He was probably paid a few million for that role and if anything gave him more publicity. Like most Hollywood liberals his political speeches are vacuous and largely tied to gaining admiration from fellow liberals.

  151. ROLLING THUNDER, based on Schrader script, is like TD crossed with DEATH WISH.

    https://www.imdb.com/title/tt0076637/?ref_=nm_flmg_wr_24

    Another post-Vietnam syndrome movie. Very good.

    Willard in APOCALYPSE opening is so like Bickle.

  152. Trinity says:

    Taxi Driver should have shown that most of the street prostitutes as well as pimps are/were Black as well if they wanted a dose of realism. I was stationed in NYC in the mid-80’s and it would be a conservative guess to say that at minimum 90% of the prostitutes in and around “The Deuce” were Black. I once saw a poor Black “working girl” wearing a cast up to her knee. It was the size of those boots that people nowadays where for a broken ankle. Had one recently myself after taking a spill off the highway. Close call. Used to hang out a dive bar in that area called, Dave’s Tavern 43th Street with my service buddies. One guy would always disappear and go on a “walkabout,” my guess is he went off looking for a “date.” He claims to have run into a movie set with Kim Basinger on it who was filming a movie in that area of town at the time. The guy was a pretty straight shooter so the only movie at that time that I think of that Basinger might have been filming would have been 9 1/2 weeks with Mickey Rourke. Speaking of “walkabout,” “Crocodile Dundee” was another movie, showing a pimp as a White guy and mostly White street walking “working girls” in NYC. lolol. (((Hollywood))) and their REEL versions of REAL life. Don’t you love it. And rooms? Most of these working girls chose alleys, subway stairwells, etc.

    • Replies: @Priss Factor
  153. @kimchilover

    The Cook, The Thief, His Wife and Her Lover

    3rd worst film ever

    • Replies: @Dumbo
  154. For what it’s worth, my nominations for ‘right wing’ cinema–

    –Antichrist, for its anti-feminist message.
    –Apocalypto, in which the warring Mayans are shown living in a degenerate, ecologically and spiritually moribund society, with the Spanish at the end of the film the immigrants who replace them.

  155. YAKUZA(screenplay by Schrader) has a TAXI-DRIVER-like bloodbath ending.

    1975 was the year of MANDINGO

    Another Todd’s Lonely Man.

    Literally Todd’s Lonely Man.

    An influence on TD? THE AMERICAN SOLDIER

    https://en.wikipedia.org/wiki/Rainer_Werner_Fassbinder#Avant-garde_films_(1969%E2%80%931971)

    The eponymous hit man of the title (actually a German, played by Karl Scheydt) is a cold-blooded contract killer, who returns from Vietnam to his native Munich, where he is hired by three renegade policemen to do away with a number of undesirables.

  156. Dumbo says:
    @Priss Factor

    which are the first and second?

    • Replies: @Priss Factor
  157. @Dumbo

    1. JEANNE DIELMANN

    2. Just about anything by Lars von Trier or Tard von Dreary.

    Bruno Dumont, Hou Hsiao Hsien, Theo Angelopoulos, Jane Campion, Takashi Miike, Guillermo Del Toro are top contenders too.

    • Replies: @Dumbo
    , @Dumbo
  158. @Trinity

    Taxi Driver should have shown that most of the street prostitutes as well as pimps are/were Black as well if they wanted a dose of realism. I was stationed in NYC in the mid-80’s and it would be a conservative guess to say that at minimum 90% of the prostitutes in and around “The Deuce” were Black.

    But many whores were whites whereas the pimps were black. Many white girls from small towns to cities and turned to drugs and prostitution and came under thumb of black pimps. Scorsese and Schrader noted that they saw black pimps controlling white girls.

    I heard Jews used to be big in prostitution. I wonder if Jews were eager to legalize pornography partly in order to reclaim the sex trade by control of distribution and media. Of course, most women recruited for porn were white.

    Ebert on Debbie Does Dallas.

    Interestingly enough, Siskel’s pick of dog-of-the-week, WONDER WOMEN, doesn’t seem so outlandish today in our trans-human and trans-gender culture where mutilation is part of the culture of narcissism and fantasy.

    [MORE]

    Though Jews are today mostly pushing black male/white male pairing in everything from advertising to smut, there was a time when the idealized pairing was Jewish male and white female. Dustin Hoffman, Charles Grodin, and Woody Allen were with shikses. There were novels like PORTNOY’S COMPLAINT. And the first porn I saw was at a Jewish kid’s house who pulled out a VHS(when it still wasn’t a universal household item) from under his dad’s bed and played a scene where Ron Jeremy was, incredibly enough, sucking his own schlong. His torso was short enough and his dong was long enough for it to be possible.

    So, for quite some time, it was about Jewish men and white females. Indeed, even as Jews pushed for sexual liberalization, they didn’t push black-white interracial stuff for awhile. Maybe they didn’t think most of America was ready for that stuff and there would be a backlash if Jews pushed too hard. Or maybe Jewish men also felt threatened by black men and wanted to keep the shikses to themselves as long as possible. But Spike Lee and madonna broke the ice on interracial stuff in the late 80s, and esp with the rise of rap, Jewish men had to go with the flow. It could also be that Jewish women got sick of Jewish men going with white girls and got into jungle fever as a kind of revenge. White Folks rotate around the axis of Jewish neurosis and suffer dearly for it.

    TAXI DRIVER makes for interesting comparison with BAD NEWS BEARS and CAR WASH, both of which came out one year later. Whereas TD is about a neurotic reaction to the libertine order, BAD NEWS BEARS, though set in a small town, makes peace with it. Unlike Bickle who wants to save Iris’ body and soul, Walter Matthau teaches the kids to drink beer. He does get into the game and tries to win… but realizes winning isn’t what life is about. Just have fun and party. CAR WASH features all the pathologies of TD but is celebratory of life like MASH and AMERICAN GRAFFITI. It’s a guilt-free movie. I wonder if the cabbie in CAR WASH is a parody of Bickle.

    Even though Schrader left the small town, something of small town provincialism and a brand of religiosity didn’t lingered in him. It’s there in films like AFFLICTION and FIRST REFORMED. He made a natural pair with Scorsese who, though having grown up in NY, was cloistered in an ethnic community. Scorsese said that for much of his childhood, the enclosed Italian community was pretty much the only world he knew. Big city had more people but also ethnic blocks that couldn’t easily be crossed, at least in the past, as the character says in CARLITO’S WAY. This mattered because the Italian-Americans were more insulated from the tremendous upheavals of the 1960s. Later, Scorsese ended up in Hollywood. He was an Italian in a Jewish-dominated world, just like Sheerhan the Irish is under the control of Italians in THE IRISHMAN. (In CASINO, Rothstein is a Jew surrounded by Italian types and some Anglo locals.)

    CAR WASH has one of the best put-down lines, by a tranny no less. “Honey, I’m more man than you’ll ever be and more woman than you’ll ever get.” LOL

    A 1976 movie that shares TD’s anxieties is CARRIE. It too is about psychological and spiritual war between forces of order and chaos. Carrie is caught between tyrant mother who regards everything as sin and nasty slut-bitches for whom everything is a joke. It’s like Scylla and Charybdis. And like Bickle, she finally explodes into an orgy of purgative violence.
    Even though Stephen King sounds like your typical urban libby-dib, his worldview is sort of like Schrader’s in that it’s deeply impacted by small town provincialism. CARRIE is like a small patch of small town stuck in a modern libertine suburb. Hope in THE STAND rests with some rural Negress in a world gone bonkers. MIST is about how the monstrous creations of hyper-technology affects a small town community. THE SHINING and MISERY both take place away from populations.

    • Replies: @Trinity
    , @John Johnson
  159. Todd’s Lonely Man movie before TAXI DRIVER.

  160. Trinity says:
    @Priss Factor

    White porn “actresses” are paid EXTRA to perform with Blacks just as many are paid EXTRA to perform unnatural sex acts. And the Jew has made no secret how he has USED porn to DEGRADE White Christianity as well as White women.

    Speaking of porn and ogres, I believe the hairy little troll (((Ron Jeremy))) was charged with rape just a few months back. Porn like everything else continues to push the envelope, it becomes sicker and more degrading, more disgusting, it makes the porn of the 1980s seem like Disney productions from the 1960s. Most if not all of these porn actors are either addicts or suffer serious mental and emotional problems, hell, you could say that about most of the “legit” actors in Hollywood.

    I also recall a scene in Taxi Driver where Scorsese makes an appearance as a passenger in the cab driven by Travis. The Scorsese character has Travis stop in front of an apartment where his wife is having an affair with a “nigger” according to the passenger in the cab aka Scorsese. Maybe Scorsese is a cuckold because most of the street walkers I observed were Black females, there were some White prostitutes as well as some Hispanic, but Black females made up the overwhelming majority of the “working girls” walking the beat around Times Square back then. One wonders why Scorsese has mentioned White females and Black guys in other movies like in “Goodfellas” where one of the women suggest that she could see how a White girl could be attracted to Sammy Davis Jr. Sammy Davis Jr? What the frack? The guy was butt ugly and about 5′ & 110lbs soaking wet. Scorsese must be an (((Eye-talian))) like his boy, (((Deniro))) and (((Joy Behar.))) Even if Scorsese is pure Italian, he acts and thinks like a Jew.

    • Replies: @Polemos
  161. mcohen says:
    @Homer

    Hollywood revenge fantasy for nerds.

    do I know you
    talkin to me
    the horror the horror

    still prefer mad max.

  162. Bergman on TAXI DRIVER.

  163. Polemos says:

    Die Hard didn’t make any earlier lists of “right wing” movies, but it is the Platonic Form of a conservative action movie, a noble hero fighting various forms of corruption and incompetence while also demonstrating ingenuity, pluck, and determination, without any superhuman or supergenius skills, who seeks to rescue and restore his family, protect the innocent, and casually destroy large amounts of capital owned by a foreign company.

    Dredd seems like a good fit, too. A highly competent white man who acts to dispense rational justice, fight corruption, and preserve the social order to the extent honest Judges can. He isn’t people-pleasing or a nihilistic sort, but a professional committed to his work with an open-eyed understanding of what his reality is and what he must do in the situation he’s in.

    Brawl in Cell Block 99 is probably what young men fascinated with Joker‘s protagonist watch if they want a less delusional and more realistic model for self-awareness, self-acceptance among cruel and violent sociopaths (or, normal people).

    When I was among Christian men more regularly, a lot of them found inspiration or something to emulate in Gibson’s Braveheart, and explicitly said its message was a conservative one they appreciated.

    No one has mentioned It’s a Wonderful Life as a classic conservative movie, but that and A Christmas Story have to be two of the most heart-warming and joyful stories celebrating values of family, faithfulness, compassion and humility. Totally not shootemups, totally not cynical, totally not about race (well, not to the extent some folks here require).

  164. Polemos says:
    @Trinity

    One wonders why Scorsese has mentioned White females and Black guys in other movies like in “Goodfellas” where one of the women suggest that she could see how a White girl could be attracted to Sammy Davis Jr. Sammy Davis Jr? What the frack? The guy was butt ugly and about 5′ & 110lbs soaking wet.

    Do you find it difficult to understand why women found Prince attractive, too?

    Perhaps it’s like what Yoda says, “Size matters not” when it comes to this mode of attraction.

    • Replies: @John Johnson
  165. @Schuetze

    In the early 1960’s there were loads of super patriotic WWII war movies to keep support for Vietnam going, especially after the Kennedy assassinations.

    Some great patriotic war movies were made in the USSR.

    There was the historical patriotic war epic ALEXANDER NEVSKY by Eisenstein.

    Bondarchuk wasn’t much of a film-maker and his WAR AND PEACE is wobbly but the war scenes are spectacular.

    And the WWII films, everything from intimate BALLAD OF A SOLDIER to epic LIBERATION.

    https://www.youtube.com/watch?v=SAIxQipQQlc&ab_channel=PeterShop.com-RussianMovie

    China now makes similar patriotic war movies.

  166. I doubt anyone watching THIS BOY’S LIFE thought the Capper would take over the Nero as Scorsese’s leading man. Both only part-Italian. Maybe Henry Hill being only half-Italian has a certain fascination for Scorsese. The Nero is a more powerful actor at any rate. The Capper is all mimic. The Nero penetrates.

  167. Trinity says:

    “Billy Jack” had to be the “left-wing” version of “Dirty Harry.” Of course, Billy Jack didn’t carry that big 44 magnum, poor ole Injun Billy just used his feet, but he had one cool looking hat. I’m guessing actor Tom Laughlin might have been just a smidgen more Injun than Lizzie Warren, kind of like that Burt Reynolds character for those old Gunsmokes. I think Reynolds played he was half Comanche or Cherokee, who knows, he was neither, just another dark haired, dark eyed guy like Laughlin. I actually liked the first movie in the “Billy Jack” series called, “The Born Losers” where the loner, Billy Jack takes on a motorcycle group that is terrorizing a town and raping young girls. IF you watch it now, it is a bit dated since it came out in the late 1960s. After this one, the Billy Jack movies start becoming typical anti-White shit out of (((Hollywood))) and with Whites playing half Indians, etc.

    Really, how often has Hollywood used the theme of the loner taking on a corrupt town, a corrupt system, the lone cop like Dirty Harry fighting not only criminals but a feckless police chief and mayor, etc. Billy Jack and Dirty Harry are really the same character, same thing with Travis Bickle and Paul Kersey, only the movie titles have changed and added or subtracted a few things.

    • Replies: @Priss Factor
  168. Cult films from the 70s.

    70s movie as allegory of civilizational crisis. And you thought cabbie Bickle had problems

  169. Trevor Lynch wants to be the next Travis Bickle so bad he can taste it.

    • Replies: @Priss Factor
  170. @oliver elkington

    young white men have become too complacent, complete pushovers.

    like Kyle Rittenhouse? Or Nick Sandmann?
    We were pushovers as young men back then too, or at least me and most of the guys I knew were. Everybody else was obviously a hero and a chad. They tell me.

    All boys were also a quite nauseating White Knights at any opportunity, sort of tail-end hippies.

    I hope and pray you will live to be surprised by what “public” opinion has universally declared, in an unprecedented and saturating full-spectrum orgy of condemnation that I (we?) never faced, to be The Devil Himself, today’s young White man. Rough times ahead it seems.
    Don’t kick the kids for not throwing themselves on the wire as you watch through fieldglasses, why not go after the orchestrators of this obsessive defamation campaign yourself?

    Gnaaar .. kids today .. why, when I was their age .. etc. etc. [crumples Daily Telegraph in disgust]

    • Replies: @John Johnson
  171. I saw Taxi Driver once many years ago. While watching I wondered if this was his daydreams. There was something in the last scene that confirmed that it was all made up. I cannot remember and I di not want to watch it again.

  172. @Priss Factor

    But many whores were whites whereas the pimps were black. Many white girls from small towns to cities and turned to drugs and prostitution and came under thumb of black pimps.

    It’s still that way in Vegas.

    https://graneyandthepig.wordpress.com/2009/03/20/las-vegas-pimpin-is-easy/

    Black criminals seem especially attracted to prostitution.

  173. @Polemos

    Do you find it difficult to understand why women found Prince attractive, too?

    Perhaps it’s like what Yoda says, “Size matters not” when it comes to this mode of attraction.

    What mode of attraction? Fame tinted glasses? For any woman that went backstage I doubt it lasted more than a day.

    Prince would have been hopeless with women even if he was a doctor.

    Women simply don’t like men that short. They will date an average sized violent felon over someone like prince. Just the way it is.

    • Replies: @Polemos
    , @Priss Factor
  174. @RileyDewiley

    Bickle vs Ripley. Who would win?

    TAXI DRIVER vs TALENTED MR. RIPLEY.

    Ripley is far sicker but capable of passing as normal, whereas Bickle does have a moral compass but always comes across as strange the minute you scratch the surface with him.

    In a way, the ending is telling. Bickle’s craziness subsides with the success he has with publicity. He’s seen as a folk hero, like what Curtis Sliwa later came to be.

    It suggests that Scorsese and Schrader could have gone very badly if not for their success. Success gave them confidence and respectability. Without success, they would have been brooding dark and heavily. Ironically, they gained respectability by grappling with disreputable subjects.

    Likewise, consider Sly Stallone. He ever appeared in porn. He was just another loser. But he became a winner. But what is the dividing line between loser and winner? In some cases, it’s obvious some were meant to be losers and some were meant to be winners. If you’re low IQ and shy, you’ll be a loser. If you’re smart and articulate, you have a good chance of winning.

    But in the arts and entertainment, so many smart and talented people fail. They remain losers. In science, the truly smart do rise to the top. In law, the verbally gifted with good memory find success.
    But in the arts and entertainment, the fakers, frauds, and hype-artists often win while true talents lose out. So, the notion of ‘loser’ and ‘winner’ was fraught with uncertainty for the movie brat generation emerging in the 70s. George Lucas lost with his best film, THX 1138. He found his greatest success with STAR WARS even though he failed to realize its full potential and sold out.

  175. @Trinity

    Then, there was WALKING TALL.

    FIRST BLOOD is like a spin on EASY RIDER, DIRTY HARRY, TAXI DRIVER, and DELIVERANCE.

    Counterculture Reactionary fantasy.

    • Thanks: Trinity
    • Replies: @Trinity
    , @Trinity
  176. @Expletive Deleted

    like Kyle Rittenhouse? Or Nick Sandmann?
    We were pushovers as young men back then too, or at least me and most of the guys I knew were. Everybody else was obviously a hero and a chad. They tell me.

    Well speak for yourself.

    I mouthed off to a couple high schoolers when I was first in junior high.

    They put the smack down to teach me a lesson.

    Only thing I learned was to not call out two at once.

    • Replies: @Expletive Deleted
  177. Trinity says:
    @Priss Factor

    I remember when Walking Tall came out, it was a huge hit at the time. I absolutely HATE the remake with The Rock, but I enjoyed the original. They NEVER play the original on television but the remake is on ALL THE TIME. Go figure. Just like, “The Longest Yard.” The original was GREAT, the remake SUCKED and it is the remake which is on television all the time. No wonder television is on its way out.

    • Replies: @Jeff Stryker
  178. Trinity says:
    @Priss Factor

    The ORIGINAL “Walking Tall.” GOOD CATCH. That is definitely a “right wing movie.” Forgot all about that one.

  179. @John Johnson

    By 14, most of us learned that “concealed carry” (of boy scout-type knives, screwdrivers, improvised long chibs slipped into the frame of a bag, and even the good old open razor thieved from someone’s grandad (electrical-taped at the heel of the blade, no lock), or for the “wealthy” and travelled, flick-knives and even spring stillettos from holidays in faraway (and still fascist) Spain) was the only rational course.
    The adults (teachers, parents, police) supposed to supervise all this were useless, in fact worse than useless. Their sage counsel would have inevitably got you into the hospital.

    Only got stabbed twice in my life, at school, because I made every effort to avoid trouble (enough at home). Once in the back, square-on, shoulderblade stopped it, the other just cut my underarm a bit. By 17 we’d discovered prog rock and smoking, and girls, so it all kind of went away (as the junior psychos on both sides were slowly weeded out and sent to Borstal/List-D. For things like stabbing an old man to death in the street with .. umbrellas. Just ‘cos).

    C’mon man. It was us vs. the Catholics, in their creepy soot-blackened Hogwarts-y school across the park, armed and hunting in packs; hammers, bricks, bottles as well as blades. You had to pass them to get to the train station and home. WWYD?
    Jolly old fisticuffs, one-on-one, was simply not an option. I was a splendid and speedy coward, and am still here.

  180. @Trinity

    I could believe that huge Viking Bo Svenson in the role better than Joe Don Baker. He was too lumpy. Svenson was the Dolph Lundgren of his time.

    Here are Stryker’s questions:

    1) What does Travis Bickle really accomplish by killing some other white trash at a brothel?
    2) Iris returns home & her father’s letter suggest they are rural lower class whites. Why are girls, even from the seventies, from lower class rural environments so often sucked into prostitution or human trafficking but not urban white girls. Why wasn’t Matthew aka “Sport” able to pimp local Italian or Jewish girls & his victims were rural white runaways instead?
    3) Iris was already using cocaine with Sport. Her father says her adjustment has been difficult. She is 12 in 1974 (The film was shot in summer of 1974) & was born in 1962. Wouldn’t she have ended up being a crackhead or loser anyhow down the road? Was she ever going to be normal afterwards?
    4) How did New York City clean up after the seventies. In 2020 there is no evidence of the squalor or crime or corruption of the 70’s & 80’s. How was the social problem solved? New York today is a functional city. What was the solution? It is now safer than London.
    5) Why did New York have a revival but cities in the Midwest did not & now the Upper Midwest rustbelt has collapsed? Literally collapsed? What was the difference?
    6)Travis was only 26 years old (De Niro was 31 & looks it however) but he lived alone, wrote to his parents occasional letters, was able to make a living wage that allowed him to purchase an armory of expensive guns. Today frustrated 26 year old men live at home in their basements & have never even left the house they were born in. Many are doing teenagers jobs. Why? What changed?
    7) Travis was semi-illiterate but he still was able to hold a job. Why is impossible today in the USA for college graduates to do so? If American has a decent economy, why are so many young people in poverty or living at home?
    8) Taxi Driver was written by a Dutch Calvinist & directed by an Italian American. What is the link with (THEM)? The film was not created by (THEM). The film was produced by (Julia Philipps) however.
    9) I am from the industrial North & know these things. But the posters from rural parts of the USA here seem unaware of them. Why are rural Americans in general so unaware of pop culture? This is even touched upon in the film when Travis buys the Kris Kristofferson record for Betsy.
    10) Curtis Silwa presided over the Guardian Angels during the crack cocaine era. Why did the crack era decline? What happened to all the crackheads?
    11) Why are white girls from small towns so easily sucked into drugs & prostitution in Vegas. Why are they so naive. Why does this not occur to middle-class or urban Jewish or Asian or Italian-American girls? How are the Jewish, Asian or Italian-American parents better able to protect their underage daughters than small town white people are?

    • Replies: @anon
    , @Priss Factor
  181. Escape from New York

    It really was that bad back then.

    DAWN OF THE DEAD bemoaned shopping malls but they were murdered by Amazombies.

    Qbert and Sis on TD

  182. utu says:
    @Dumbo

    That “Trevor is OK” and “Steve Sailer is even worse” is not good reason to take Priss Factor batshit crazy rants seriously, though occasionally he spouts interning analogies or metaphors.

  183. Dumbo says:
    @Priss Factor

    Just about anything by Lars von Trier

    Ha! Yes, I disliked almost all films I saw by him, for some reason. Even when he starts with some interesting idea, he almost always ruins it in the end.

    I had to sit to his last work, a pretentious and ugly film about a psycho killer. A torture, mostly.

    I think that his films are usually visually ugly (on purpose?) and with stories created to piss people off, more than for than any other reason.

    The others, I don’t know so much. Takashi Miike I saw only a (bad) horror (?) film, and from Campion only the overrated The Piano.

    Can you name any great female director, or any great film directed by a woman? Right now I can think only of Leni Riefehnstal (Olympia / Triumph of the Will), LOL.

    It’s funny than in a list by the BBC of “best films directed by women” includes this:

    – The Matrix (Lana and Lilly Wachowski, 1999)

    LOL, they hadn’t even “transitioned” yet when they made it.

    • Replies: @Priss Factor
  184. Related themes with TAXI DRIVER

    Hunger – Hamsun

    La Bête Humaine

    https://en.wikipedia.org/wiki/La_B%C3%AAte_Humaine_(film)

    Truckers > Taxis Bigger sense of community

  185. Reaper says:

    This part was my favorite:

    “Any movie involving vigilantism is inherently anti-liberal, which makes it objectively Right-wing, regardless of the vigilante’s or the director’s intentions. Liberalism is the idea that we can be governed by laws, not men. ”

  186. Feryl says:
    @John Johnson

    Scorsese and Schrader are as fascinated by scum as they are disgusted by it. They both belong to the generation that glorified sleaze and corruption from circa 1967-1980 (it was the later Boomers who, in the 80’s and 90’s, raged against the nihilistic rule breaking glorified by those born in the 1940’s).

  187. Wielgus says:
    @Jeff Stryker

    Excerpt from Soviet film of the early 1960s. Re Keitel, yes, he does look Slavic. Mikhail Pugovkin, the stocky actor in this clip, looks like Keitel to me though with coarser facial features.

  188. Dumbo says:

    Not really Off-Topic: I didn’t know, but Tarantino, who was very much influenced by Taxi Driver and other Scorsese movies, is married to an Israeli and currently lives in Israel:

    https://www.jewishpress.com/news/israel/quentin-tarantino-talks-israel-my-life-here-is-so-wonderful/2020/01/23/

    Well, I guess that explains “Inglorious Basterds” and “Django Unchained”.

    But, the “Jewish Press” assures us he is “not Jewish”, but Irish and Italian… Well, maybe. But it’s a bit odd that almost everyone in Hollywood ends up marrying Jewish people (or maybe it’s not odd, as most producers and even many actors are Jewish or part-Jewish). It’s also odd that many “Italians” and “Irish” are played by Jewish actors, or vice-versa (Italians and Irish playing Jews).

    De Niro himself was used by Scorsese to play a Jew (in Casino), an Irishman (The Irishman, of course, and Goodfellas) and an Italian (many other films).

    I am not sure if his character “Robert Pupkin” in “The King of Comedy” is supposed to be Jewish (the surname sounds Jewish), but all other important characters in the film are: Jerry Lewis. Sandra Bernhard, etc.

    • Replies: @John Johnson
    , @Reaper
  189. @Andy Horton

    Gangs of New York is a comedy. I laughed so hard in that movie. If I had the sets and costumes I would have done the Boss Tweed story. Americans would love a movie where a very corrupt politician dies in jail broke. Americans love movies with happy endings.

  190. @Dumbo

    Well, I guess that explains “Inglorious Basterds” and “Django Unchained”.

    What you think his Jewish wife made him create degenerate media?

    Well before he was married he won awards for a movie that contained a male rape scene. His breakout movie celebrated criminals and had a scene where a cop was tortured.

    This is another example of why you guys get too hung up on the Jews.

    As if all non-Jewish filmmakers would be making movies about Spartacus and King Henry.

    Tarantino fits the mold of the bitter egalitarian. He creates movies about killing rednecks and cops because in his mind those are the Bad Whites that hold everyone down.

    • Replies: @Dumbo
  191. PolarBear says:

    I remember watching Back to Future and thinking Marty McFlys sister looked off, like she was a tranny or something like a demon. Turned out this weaker looking and acting woman was just a Jew. More Jewish fuglies and hacks seem to slip through the cracks in Hollywood. I don’t think Jews are ugly even, quite the contrary. Still, a homely Hebrew stands out like the burnt part of an apple-pie in an attractive White American family.

  192. Protogonus says: • Website

    “Rollerball” (1975). The protagonist actually gets somewhere, though it is not a comedy.

  193. Another portrait of a psycho playing role of knight saving a damsel.

    BADLANDS

    • Replies: @Trinity
  194. anon[127] • Disclaimer says:
    @Jeff Stryker

    NYC is not functional, as of the last few years. the upper west side is a war zone at night

  195. @Dumbo

    Can you name any great female director, or any great film directed by a woman?

    Lina Wertmuller is tops. SEVEN BEAUTIES is an all-time great.

    Ida Lupino’s THE HITCH HIKER is quite good.

    Bigelow’s K-19 and HURT LOCKER are excellent military movies. BLUE STEEL is nuts but compelling.

    Clair Denis made an interesting BEAU TRAVAIL

    Agnes Varda’s CLEO FROM 9 TO 5, LE BONHEUR and VAGABOND.

    In the past 5 yrs, lots of women entered directing.

    https://www.studiobinder.com/blog/best-female-directors/

    • Replies: @Reaper
    , @Wielgus
  196. Trinity says:
    @Priss Factor

    This movie was loosely based on real life mass murderer Charlie Starkweather and his girlfriend. Good movie IMO. Sheen was also in one of the movies that I recommend as “right wing movies”, “The Incident” which came out in the late 1960s. Sheen was a pretty decent actor.

  197. Reaper says:
    @Priss Factor

    Some from a different taste:

    Baise-moi French film
    https://www.imdb.com/title/tt0249380/?ref_=fn_al_tt_1
    As film was not the best, but the story come from the director.

    Assasins run:
    https://www.imdb.com/title/tt1502417/?ref_=tt_urv
    Sofya Skya also main actress and most of the things done with no stunt – she was actually a professional ballerina at St. Petersburg.

    As for TV series there are countless who directed episodes, usually the ones who acted in them.

    As for last 5 years:
    No – most of them get there just because born with a pussy, not because talent.

  198. Reaper says:
    @Dumbo

    “It’s also odd that many “Italians” and “Irish” are played by Jewish actors, or vice-versa (Italians and Irish playing Jews). ”

    Not as odd as history.
    There were some decades when the La Cosa Nostra in the US replaced by the term: commonly called Kosher Nostra.

    Or there were the Cleveland Syndicate which in part was Irish – Jewish mix.

    And that is criminal history, not film.

  199. I saw the Dirty harry movies a few years ago. By today’s standards he is a liberal. In one movie he has a black partner, another an Hispanic, and even a woman. The woman earns his respect and he gets along with the others. He never says anything bad about any group. He only hates criminals. Today’s woke filmmakers should watch the Dirty Harry movies to learn how to make great movies.
    For right wing movies, just pick any Audie Murphy movie.

  200. Polemos says:
    @John Johnson

    He was a very accomplished guitarist, dancer, lyricist, vocalist, producer — many women find attractive those confident, highly competent, charismatic men who do what their passion and drive compel them to do. I am not sure how wide your experience with cross-sections of women are, but I am also not so sure that women (interested in men) on the whole find themselves more attracted physically than they are attracted to world influence. Do you disagree that status matters to a woman, or are you stressing more that status can only go so far but a manly tall hunk is forever?

    From many conversations and experiences, I’ve come to understand that some women observe more than the skins and bodies we carry but see and listen and receive deeply what we are beyond the physical. Intention and spiritual alignment overcomes the physical quite often, and those who have a greater role within the world spirit attract many to themselves. They are our darkstars. Prince might have been a tiny man, but he moved the world by pulling it along from within. Maybe that is something you don’t respect, but there are women who do not think as you do. Perhaps it is that mutual dissonance that excludes those women from your declaration of what Women like and want, but I remember them and see for myself how diverse are their attractions.

    Your way-it-is is not the true way. This is a hard lesson, but you are strong and don’t need to deny it.

  201. In one movie he has a black partner

    Which one? I know Buckwheat he shot in the first one(and played a pimp in the second one) returned later as a cop with a big pistol. But was Buckwheat ever a partner? I didn’t see the whole thing. The only good DIRTY HARRY movie is the first, though I like the scene in THE ENFORCE with the punks in the store.

    He was also in the TV version of SHAFT.

  202. @Jeff Stryker

    1) What does Travis Bickle really accomplish by killing some other white trash at a brothel?

    Well, he still accomplished more than shock and awe in Iraq.

    2) Iris returns home & her father’s letter suggest they are rural lower class whites. Why are girls, even from the seventies, from lower class rural environments so often sucked into prostitution or human trafficking but not urban white girls. Why wasn’t Matthew aka “Sport” able to pimp local Italian or Jewish girls & his victims were rural white runaways instead?

    How do you know urban white girls don’t fall for that stuff? I’m sure plenty turn out badly.

    As for why rural girls fall for it…

    3) Iris was already using cocaine with Sport. Her father says her adjustment has been difficult. She is 12 in 1974 (The film was shot in summer of 1974) & was born in 1962. Wouldn’t she have ended up being a crackhead or loser anyhow down the road? Was she ever going to be normal afterwards?

    It just goes to show that being nice and normal aren’t enough. In this age of glitz and glamour, young girls want to be more than ‘nice’. There’s more cool in being ‘bad’. The woman in MULHOLLAND DR. left small town for Hollywood. She wants to be where the glamour is, and she’s turned bad. But in her fantasy, a part of her is still good.

    In a way, Iris turned bad because there is goodness in her. Goodness can be weak and vulnerable. It’s like dogs are good but easy to manipulate… because they’re good and trusting. Iris wants freedom and chose badness. But there is the good little girl inside her that wants to please and win approval, which is why both Sport and Bickle have such influence on her.

    Why were Germans so easy to seduce into evil by Hitler? They were good. They wanted to be good patriots and good soldiers. They trusted Hitler.

    4) How did New York City clean up after the seventies. In 2020 there is no evidence of the squalor or crime or corruption of the 70’s & 80’s. How was the social problem solved? New York today is a functional city. What was the solution? It is now safer than London.

    Jews and Libs cut ties with Big Labor and made super-money via globalism centered in cities. Gentrification and section 8 and mass immigration drove lots of blacks from cities.

    5) Why did New York have a revival but cities in the Midwest did not & now the Upper Midwest rustbelt has collapsed? Literally collapsed? What was the difference?

    Pittsburgh and Chicago did pretty well. Parts of Cleveland saw revival. It was a matter of ‘not enough blacks’ and successful transition from industrial to information economy. Some did better than others.

    7) Travis was semi-illiterate but he still was able to hold a job. Why is impossible today in the USA for college graduates to do so? If American has a decent economy, why are so many young people in poverty or living at home?

    He isn’t Shakespeare but doesn’t strike me as semi-literate. Bickle was willing to drive a cab. Many college grads today want to do clean stuff, like write for magazines or work for government or become professors. There are only so many such jobs.

    8) Taxi Driver was written by a Dutch Calvinist & directed by an Italian American. What is the link with (THEM)? The film was not created by (THEM). The film was produced by (Julia Philipps) however.

    Both were obsessed with guilt and fascinated with sin. Guilt was rammed down Schrader’s throat, and he had to take off. So, he is both Bickle and Iris in TAXI DRIVER, as well as Sport and Palantine. Like Bickle, there remains a judgmental part of him. Like Iris, he wanted to run from repression toward liberation. Like Sport, he wallowed in sin. And like Palantine, he learned the ropes of the industry and played politics to get ahead in the business.

    One key difference between Scorsese and Schrader was the former gravitated toward religion whereas Schrader distanced himself from it. Scorsese’s family wasn’t particular religious and he was taken to movies regularly by his parents. In contrast, Schrader’s family forbade watching movies as sinful(not uncommon among small town Protestant folks in the 20th century), and he had enough of religion, BUT the childhood influence stuck to him. So, Scorsese had a troubled road to religiosity — he tried to get nearer to God but remained far — , whereas Schrader had a trouble road away from religiosity — he tried to be free of it but part of the cross clung to him.

    9) I am from the industrial North & know these things.

    Speaking of the industrial North, what do you think of Paul Schrader’s BLUE COLLAR? That was one time when Schrader may have been ahead of the game vis-a-vis Scorsese who was faltering after TAXI DRIVER with NEW YORK NEW YORK. Schrader got so much right with BLUE COLLAR, a solid work, except for the very unconvincing ending that tries to push a message that is no longer relevant by the time the film’s over. Still, it’s an amazing work considering that Schrader was never the natural film-maker that Scorsese was. But with BLUE COLLAR, he seems easy and natural, though I’m sure the jivery of Richard Pryor and Yaphet Cotto helped some.
    Also, more than any film by Scorsese, it resembles THE IRISHMAN.

    He also PATTY HEARST. That is about a RICH white woman who is adopted into radical terrorism. Rich or poor, white folks don’t have core identity, and that means their soul can be co-opted by the Other.

    • Replies: @Jeff Stryker
  203. Dumbo says:
    @John Johnson

    Yeah, he was a sicko before, but the revenge fantasies “Inglorious” and “Django” are way too much and play way too much to the black-jew idolization zeitgeist.

    However, one can make a case that “In-gorious” is actually an anti-semitic movie:

    – The most intelligent and interesting character is a Nazi;
    – The revenging Jews appear as a bunch of violent psycho savages;
    – The Jewish heroin ends up mixing with an African.

    • Replies: @John Johnson
  204. @Priss Factor

    1) Shock & awe in Iraq? Sorry, I don’t even understand the metaphor. Taxi Driver would seem to be about a fairly uneducated Midwesterner whose problems began long before he served in the military who shoots a bunch of other poor wretched members of the white underclass in a squalid child brothel.

    2) Most posters here are Gen Y & too young/historically unaware to know that the porn actresses character in Big Lebowski was based on Colleen Applegate, a Minnesota girl who moved to California with a boyfriend and became addicted to cocaine and shot herself in the head with a shotgun. There was a made-for-TV film called SHATTERED INNOCENCE about her life.

    3) I tend to wonder where their parents are. Dad doesn’t know or care? There is something fundamentally wrong with the structure of rural Anglo-Celtic society to begin with that makes is more susceptible than that of other groups such as Italians, Jews, Asians, Muslims.

    4) How did cutting ties with unions (I’m assuming you refer to) cut down on crime? How did globalization reduced black crime in the cities? I would have thought outsourcing would have made it worse. Can you explain that?

    5) So the problem is African-Americans. Why? Can you equivocate? Why do African-Americans commit more crimes? What are the reasons they do so? What is their motivation?

    6) Why else would you pay for college than to do a job you were educated for. Magazines are out the window now anyhow (I got a useless Graphic Arts degree myself) but if you trained to be a nuclear scientist than why would you want to drive a taxi? Most people who only possess high school diplomas have no idea how difficult working a full time job & attending a college is.

    9) BLUE COLLAR also starred Harvey Kietel & he is more convincing as a Polish-American welder (His parents were Polish) than as a pimp. I never bought Keitel as Italian because of his wide Slav cheekbones. However with his short compact bulging muscular build (Keitel was Marine infantry & he was seriously build as a young man) he looks like a Polish-American factory worker.

  205. Anonymous[624] • Disclaimer says:
    @Alfa158

    The Mohawk haircut was a cue that Bickel was a veteran. Apparently, some soldiers in Vietnam shaved their hair into Mohawks when they were sent out on a potentially ugly mission. Bickel does this when he begins acting on his own plans.

  206. mcohen says:

    just watched “mechanic” with Charles Bronson.great movie.filmed before digital.

    next up

    “von ryans express”

  207. Hhsiii says:
    @A. Hipster

    I have been in that station many times. Quite often in that very spot, on an express train, sometimes switching there for a local. Makes me see it with new eyes.

  208. Tarantino’s most TAXI-like work is TRUE ROMANCE where some loner saves a hooker from a whigger pimp. It’s TD idea made into a fairy-tale.
    The hero’s saving grace is he’s immersed in pop culture, and Elvis’ spirit guides him. In contrast, Bickle, being bereft of op culture references, feel isolated.

    Was THE DEER HUNTER partly inspired by TD? DeNiro’s Michael is something of a loner and tries to save his friend from a drug gang like Travis tries to save Iris from ‘hell’. Also, both titles are similarly ironic.

    I wonder if TD was partly inspired by “Taxi” by Harry Chapin.

    NIGHT ON EARTH was Jarmusch’s take on the taxi life.

    BRIGHT LIGHTS BIG CITY. Yuppie spin on man going mad, along with AFTERHOURS. (AMERICAN PSYCHO later took this idea too far.)

    It seems Iris was returned to her grandparents or grandparent and new spouse. As they’re from Pittsburgh, she’s not really small town.

    TAXI DRIVER is regarded as 70s cinema, but like ROCKY, portended the new conservatism that actually began with Carter with down-to-earth peanut-farmer appeal and truly took off with Reagan. In a way, Bickle is too ‘radical’ for politics, but politicians feed on the rage and frustrations of the people. Ballots are soft bullets. And Bicklish frustrations made Dems choose the relatively conservative Carter and made America elect Reagan twice and then Bush over Willy Horton.
    And Clinton bickled the law by incarcerating record number of black males.
    And Bloomberg was the most bicklish among them all.
    In that sense, TD foreboded the politics that was to take shape. They all took from the bickle jar.

    Though contrasted to ROCKY, TD too was a great white hope fantasy in a way.

    MIDNIGHT RUN had DeNiro as a slightly saner and sharper Bickle.

    The scene with Scorsese as jealous husband is telling. Bickle looks upon the guy as nuts even though he himself is driven by similar rages. It’s easier to spot madness in another than in oneself even when one has the same kind of madness. What one sees objectively is missed subjectively.

  209. @John Johnson

    What mode of attraction? Fame tinted glasses? For any woman that went backstage I doubt it lasted more than a day.

    Rules of Attraction are strange. Just are.

  210. @Anonymous

    Also consistent with him being a LARPer and fantasist.

  211. Mark G. says:

    The Magnificent Ambersons might be a good movie to do a review on. The author, Booth Tarkington, was something of a conservative. The following article kind of portrays him as an Indiana Russell Kirk:

    https://www.theamericanconservative.com/articles/what-drove-booth-tarkington/

    Because of his conservatism, Tarkington’s critical reputation has declined in recent years. In a 1921 poll of booksellers, he was named as the most important writer in America. In recent years he has sunk into literary obscurity. There hasn’t been a biography or book length critical study done of him since the nineteen fifties. His fellow Indiana author, Theodore Dreiser, has maintained his reputation because of his political leftism. Tarkington’s reputation probably also wasn’t helped by the box office failure of The Magnificent Ambersons when it was first released.

  212. @Anonymous

    The Mohawk haircut was a cue that Bickel was a veteran. Apparently, some soldiers in Vietnam shaved their hair into Mohawks when they were sent out on a potentially ugly mission. Bickel does this when he begins acting on his own plans.

    Something about his military background seems off in the movie.

    I think Scorsese wanted to make his military service questionable.

    His jacket doesn’t fit right and he wears it like a slob. When he interacts with the secret service agent he is disrespectful and invades his personal space. Not something a former marine would do.

    Maybe he served or maybe he read about the mohawk and pretends to be a combat veteran. Could be one of those guys that worked some safe job in a military warehouse but then later adopted a combat vet persona.

  213. @Dumbo

    I haven’t seen all of Inglorious. After slogging through Kill Bill I don’t seek out movies by him.

    I did enjoy Once upon a time. I’ve read about the Manson family and he did a good job with the references.

  214. Mephisto – Szabo

    • Thanks: Wielgus
  215. @Alfred

    Even married men are incels. Women decide if and when to consent, and any man who respects that is an incel.

    The opposite of “incel” is “rapist”, and it’s very telling of our society that one of these words is considered the greatest insult.

    No man can even call himself voluntarily celibate, or he’ll be called a freak and a loser, and an incel, anyway.

  216. Alfred says:
    @Temporary Insanity

    No idea. The photo was from a Nigerian online magazine. This is a taboo subject in the Western media. Everyone knows that Trump has beautiful younger wives, but they criticise him and his wife indirectly. They claim that she has a double or that she never smiles – that sort of nonsense. No one will come out straight and say that he is having fun.

    The same applies to Bill Clinton – but he does it with much younger girls. 🙁

    British media is less inhibited.

    PLAYBOY PRES Bill Clinton sat smoking cigars and playing cards with Epstein sex slaves on board notorious Lolita Express plane

  217. Wielgus says:

    Horseman On The Roof – French film from 1995. This version dubbed into Italian. No English subtitles, but set in a cholera epidemic in the 1830s ravaging southern France and based on a Jean Giono novel. Society going nuts over an illness certainly strikes a chord, though they do not need the newspapers to tell them this is dangerous, unlike our present dread contagion. At one point the hero and heroine break out of quarantine and it is considered a liberating moment.
    When I went to see this back in the 1990s with an anarchist-inclined friend, he thought the way they broke out of quarantine was a little anti-social, although being in quarantine could be a death trap.

  218. Wielgus says:

    At about 1:08 they meet a bourgeois family related to the heroine’s husband. At the dinner table she mentions that they have come from Manosque, a town ravaged by cholera. The panic this drives them into is rather comic and alas, all too familiar.

  219. @Priss Factor

    Peckinpah’s white men have the hots for swarthy sexy-Mexies.

    What? Drunken, “negro rich” outlaws in Mexico would dally with the local women? Nah, they would spend their riches on sarsaparilla and hymnals.

    Females are always the spoils of war.

  220. @Schuetze

    Especially after you played a child-whore on the screen corrupting millions of young girls across the planet

    How many “young girls” have actually seen this movie? Have watched it from start to end? It is not a “young girls” movie. Yes, Hollywood has corrupted plenty of young girls, but I doubt “Taxi Driver” is one of the tools they have used. It appeals more to young males. Or are you saying that “child-whores” did not exist before 1976?

    • Replies: @Priss Factor
  221. Pasolini was ahead of the game in observing and immersing himself in human detritus.

  222. nsa says:

    Hey Trev, Why not review a recent prime example of cinema verite in the usual literate arty style . The film was very high budget but featured no big name stars, was quite short, much ignored, offered very shaky cinematics, and the speaking parts were quite limited but very authentic and spoken from the heart. And the subject matter was very revealing as to the exact nature of jewed out 21st century american depravity. The title was Collateral Murder. It did not make it to a cineplex near you, but am sure you can find it somewhere on the internet.

  223. Not right-wing works but of interest to right-wing folks:

    Mussolini the TV mini-series

    OB VII, the holocaust medical court drama

    https://en.wikipedia.org/wiki/QB_VII_(miniseries)

    [MORE]

    One that got away

    Man in the Glass Booth: this used to show quite often on PBS in the 70s and early 80s.

    https://en.wikipedia.org/wiki/The_Man_in_the_Glass_Booth

    Vice and Virtue: Nazis meets De Sade

    Sometimes a Great Notion (see it before it goes away)

    Tatsuya Nakadai on the great directors

    https://www.youtube.com/watch?v=YVvx9jQ5FcM&ab_channel=SirF.Fitzgerald

  224. @John Johnson

    I have never read any references to the mohawk and Viet Nam. But WW2 paratroopers were famous for their mohawks on D-Day.

  225. @Chris Mallory

    Yes, Hollywood has corrupted plenty of young girls, but I doubt “Taxi Driver” is one of the tools they have used.

    The problem of art and freedom is the byproduct of cultural pollution. It’s like, to gain an ounce of gold, great deal of process is involved leaving destruction and waste. So much dirt is dug up, so much water wasted. And to get one gallon of fuel from crude, a lot of pollution is created.

    Freedom makes for creativity and art, but to produce one film like TAXI DRIVER, the freedom will likely produce a 1000 trashy movies that merely exploit freedom of sex and violence.

    There lies the real danger. TAXI DRIVER at least provokes people to think and confront what it’s about. In contrast, many other works that use freedom of expression merely spread cultural pollution.

    So, the question is, “Is it worth it?” Is it worth it to have a 1000 trashy movies that degrade souls for one work like TAXI DRIVER or LAST TANGO IN PARIS? (Or even EASY RIDER, to which TAXI DRIVER is a counter-point. Bikers and Cabbies. ) It’d be nice if everyone who uses sex and violence would do it with a sense of responsibility and thoughtfulness, but the industry is mostly about money, and too many entertainers are into exploitation than exploration. So, the freedom that produces a handful of great art may produce tons of junk that rot souls and brings down civilization.

  226. Car Culture in America.

    The elites are the race car drivers, like in FORD VS FERRARI and LAST AMERICAN HERO.
    And of course, AMERICAN GRAFFIT is full of car, and Paul LeMat reappears in MORE AMERICAN GRAFFITI.

    https://scrapsfromtheloft.com/2021/01/02/the-last-american-hero-pauline-kael/

    Then, there is the car as a job, which is where TAXI DRIVER comes in. But Bickle wants to be more. He wants to be a hero without ‘heroic’ extraordinary talents. His only way is doing something crazy.

    A hyper-parody of driving as road to heroism, THE BLUES BROTHERS.

    Then, there is USED CARS.

    https://www.youtube.com/watch?v=Bxu6dL5aE14&ab_channel=Shout%21Factory

    https://www.chicagoreader.com/chicago/used-cars/Film?oid=1074451

    In THE GRADUATE, one of the funniest lines is “So, Elaine Robinson got started in a Ford.”
    Cars became not just a vehicle for transportation but for reproduction. And Bickle speaks of cleaning the cum off the backseat everyday. In a way, he’s like a pimp on wheels though not by intention. He drives a brothel-on-wheels. Maybe he wants to kill the pimp because he subconsciously feels sullied as one, the cabbie who drives perverts around who do sordid things in the backseat.

    Funniest spin on car culture is Harold turning a sport car into a hearse.

  227. @John Johnson

    Something about his military background seems off in the movie.
    I think Scorsese wanted to make his military service questionable.

    Neither Scorsese nor Schrader in their interviews ever implied that Bickle was faking his military background. But, I suppose movie characters take on a life all their own, and audience feel freely to interpret them.

    His jacket doesn’t fit right and he wears it like a slob. When he interacts with the secret service agent he is disrespectful and invades his personal space. Not something a former marine would do.

    A lot of war veterans became slobs, not least because many of them came from troubled families to begin with. Many ended up homeless. There is no one-size-fits-all.

    Military tries to shapes people into a certain ideal, but people can’t help being what they are. And after the leave the military, they regress to their natural state.

    Consider the Washington DC assassin, the black guy who randomly shot people from the trunk of his car. I’m sure the military didn’t intend to produce such a character, but there he was, a veteran.

    Maybe he served or maybe he read about the mohawk and pretends to be a combat veteran.

    The mohawk seems to indicate punk culture and neo-tribalism(reference to American Indians). Though Bickle isn’t part of punk culture, he does go ‘punk’ in his rebellion. And in THE SEARCHERS, Ethan becomes like a savage in his fight with savages. And it’s as if Travis the ‘cowboy'(he is called that in the movie) goes ‘Indian’ in his war on Sport the ‘white injun’.

    I heard NIGHTCRAWLER is sort of like TAXI DRIVER. Its star actor was also in ZODIAC, a fine movies about the 70s.

    • Replies: @anon
    , @John Johnson
  228. anon[787] • Disclaimer says:
    @Priss Factor

    My father was a combat medic in Vietnam & he explained to me that they just needed “warm bodies” so the induction was hasty & mentally unbalanced or low IQ draftees or volunteers were rushed through basic training. De Niro’s mental problems began long before his military service.

    During a war when 100,000 new inductees are needed, psychological screening diminishes.

    However, Robert De Niro just doesn’t seem as if he is from the Midwest. He oozes New Yawk from every poor. And he looks too Italian. I just didn’t believe him as a Midwestern transplant to New York.

    We see the shrapnel scar on Travis’s back & the tattered Vietnam flag.

    Travis frankly does not seem THAT crazy prior to actually killing three people. He just seems like a rube: uneducated, dull, bordering on alcoholic (Putting peach brandy in his cereal), socially inept, fascinated with porn & handguns. He holds a job.

    • Replies: @Priss Factor
  229. Wielgus says:

    There was Project 100,000 or “McNamara’s Morons”. Low-IQ Americans were inducted, a policy criticised then and now. I did not get a sense Travis was one of them, or faking military service in Vietnam although he may not have been in a combat unit – many servicemen were not. He gets the taxi job at least partly because the taxi employee he sees at the start of the film was also a Marine in Vietnam.
    He does not give off a Midwest vibe, that is certainly clear. He does not really seem like a small-town guy shocked by the corruption of the big city.

  230. @anon

    However, Robert De Niro just doesn’t seem as if he is from the Midwest. He oozes New Yawk from every poor. And he looks too Italian. I just didn’t believe him as a Midwestern transplant to New York.

    Actually, he defies all categories. He is both everyman and no man. So ordinary and so peculiar. He deserves his own citizenship in Bicklonia.

    Travis frankly does not seem THAT crazy prior to actually killing three people.

    That’s what’s unnerving. He just passes for normal but is deeply unstable underneath. He’s like a land mine. Trigger him the wrong way and he can go off.

    He just seems like a rube: uneducated, dull, bordering on alcoholic (Putting peach brandy in his cereal), socially inept, fascinated with porn & handguns. He holds a job.

    No, he’s not just a rube. He isn’t well-educated or very smart but he is a seeker of meaning and truth. He is at times clueless but not dull. He is sensitive and needs to know. He is also a construct drawn from Bresson’s pickpocket and the existential crisis of Schrader and Scorsese (and may have inspired Gosling in DRIVE and BLADE RUNNER 2049.

    In a way, Bickle is a human-taxi that Schrader/Scorsese rode inside to convey their own neuroses. Thus, Bickle is both cabbie and cab.

    Btw, a movie rich in rightist themes:

  231. @Priss Factor

    Neither Scorsese nor Schrader in their interviews ever implied that Bickle was faking his military background. But, I suppose movie characters take on a life all their own, and audience feel freely to interpret them.

    Well I doubt there was ever an interview where that questioned was asked.

    There are multiple hints in the movie that his military background is suspicious.

    As TL pointed out we already see that he lies to his parents about working for the government.

    In the job interview he just says that he was in the marines and was honorably discharged. But he doesn’t say which division or where he served. He also doesn’t talk about the military with the manager.

    His airborne jacket contains the wrong insignia. Are we supposed to believe that Scorsese and no one one the movie set noticed this? Is Scorsese the type that would just grab a jacket at a surplus store and go with it? No this was most likely intentional.

    Initially in the movie we are to believe that Travis is a victim of the war. He is the last stand of morality in a sea of immorality. But as the movie unfolds we learn that he has very dark side and is in fact more disturbed than many of the people that ride in his cab.

    Travis is not the person that we want him to be. His military record is most likely a lie. We try to make him the protagonist out of our revulsion of his surroundings. I think that is ultimately the message here. Our sense of morality is distorted by the level of degredation that exists. Travis is not only seriously demented but also extremely dangerous. A shared disgust of 70s NYC doesn’t change that. Scorsese is wondering how much we will trust and cheer on a psychopath in a city of pyschos.

    • Replies: @Priss Factor
  232. Wielgus says:

    I don’t get the impression Scorsese or Schrader know very much about the military and care even less, hence the lack of attention to detail. Kubrick might have done but he was a different kind of film-maker.
    Travis doesn’t tell the manager about which division etc. but it is noticeable that the manager, who says he was in the Marines himself, does not question him further about it and in fact slightly warms to Travis after learning he was also one. The manager does not question the Marine background. Up to that point he was a little hostile to Travis. Then again, two ex-Marines reminiscing about Hue would have made this a different type of film in which Travis Bickle had more connection to other people than he actually shows in Taxi Driver.

    • Replies: @John Johnson
  233. In the epilogue, we see a newspaper clipping on the wall of Travis’ apartment mentioning that, according to his cab company, Travis served in Vietnam. But this has no probative value, because Travis may simply have been lying to the cab company.

  234. Thus they (the hostile elite) live in terror of Travis Bickles like Brenton Tarrant and Dylann Roof.

    If the hostile elite feared us we wouldn’t be where we are today. It’s January 6th: hours from now we will find out if the USA is truly gone.

  235. @Wielgus

    Travis doesn’t tell the manager about which division etc. but it is noticeable that the manager, who says he was in the Marines himself, does not question him further about it and in fact slightly warms to Travis after learning he was also one. The manager does not question the Marine background.

    No but his background isn’t confirmed either.

    What happens is that guys like Travis get dishonorably or medically discharged and then act like they were combat veterans. They know just enough about the military to pass.

    Watch the scene where he talks to the secret service agent. Travis is a wannabe.

  236. In the 70s taxi cab drivers made good money, so he could afford the apartment and the guns. Now you are independent operators and you have expenses.
    Bickle tells the manager he was in the Marines, also. Then there is silence. This is suspicious. When two veterans meet, they ask each other questions about when you served and where you were based. The manager is probable a fake vet.
    Bickle reminds me of a client I once had. He was discharged in the middle of basic training because his mental health symptoms were obvious. This was a good conduct discharge, and I discovered he is entitled to many veteran’s benefits. The back scar could come from anything (A car accident, fell off a bike…) The torn VC flag means nothing, as the jacket. Bickle thinks he is a great warrior and rescuer.

    • Replies: @Wielgus
  237. @Priss Factor

    I don’t doubt that the original script imagined a Vietnam veteran trying to live in 1970s NYC.

    But Scorsese added moral complexity to the story just as he does in all his movies.

    Travis Bickle isn’t a Rambo type character that you are supposed to cheer.

    Initially it seems that way but then we see he is in fact truly demented as seen by how he considers killing Palatine. What would be the point? Travis has no idea. So he went from looking down on pimps and prostitutes to almost killing a politician. In his mind he still has moral superiority over them. But why?

    There is no reason to trust him or his military career. We know he is on a downward spiral but we don’t know exactly what caused it. He has a poorly fitting jacket with the wrong insignia and no real connection to the military (VA, flashbacks, stories of specific areas). Maybe he served, maybe he didn’t. But I just find it hard to believe that the main wardrobe piece just happens to be wrong by chance.

    • Replies: @Priss Factor
  238. Wielgus says:

    Would they have run a check to see that he was in fact honourably discharged, though? After all, he is being trusted with a cab if they hire him. Would they not just pick up a phone and ask the relevant office if Travis Bickle was indeed the recipient of such a discharge?
    Being a Vietnam vet was not necessarily something to boast about in the 1970s (the climate changed under Reagan). A photo of a black guy, still in uniform, arriving back in the USA in 1972 or 1973 was a symbol of the time. There is a sign saying “Welcome home soldier. America is proud of you.” But the arrival hall in the airport is empty. Another fictional Vietnam vet, John Rambo, found his life to be no bed of roses. Indeed many genuine Vietnam vets had trouble finding work.
    Working for the Secret Service might be more appealing, hence the wannabe behaviour of Travis.

    • Replies: @anonymous
  239. Wielgus says:
    @flyingtiger

    Depicting Travis Bickle as a fake vet is a stretch. Making the taxi company manager a fake vet as well is stretching the elastic to breaking point. The manager may have had to prove he got an honourable discharge etc. when he applied for the position, and Vietnam vets did not just waltz into jobs offered them by a grateful country back in the 1970s. It was widely assumed they were druggies or mentally unstable.
    The lack of mutual vet rib-punching also has much to do with the kind of person Travis Bickle is.

    • Replies: @John Johnson
  240. Dumbo says:
    @Priss Factor

    Priss, what about Darren Arronofsky?

    Never saw a film of him worth a damn, and some are extremely annoying.

    Yet he keeps making movie after movie and considered some sort of genius, just because he’s Jewish.

    By the way, Lars von Trier (despite the fake “Nazi” polemic) is also part Jewish: his real father is Fritz Michael Hartmann, a Jew with which Trier’s mother cuckolded her husband.

    (Incidentally, many film directors appear to have messed-up childhood and in particular “slut” mothers, this may explain why some become so screwed up. Tarantino also is a similar case, his biological father was not much in his life and it seems he hates him).

    • Replies: @Priss Factor
  241. Wielgus says:
    @Priss Factor

    Vagabond or Sans Toit Ni Loi by Varda was excellent.

  242. @Dumbo

    Aronofsky hit gold with MOTHER!, a total masterpiece. Before that, he made interesting but deeply flawed films. Yes, he’s annoying with his neurosis but a seeker of sorts, and that makes him interesting. In contrast, I think Trier is just a troll.

    Trier isn’t Jewish. He though he was he was half-Jewish because but it turned out his mother had him with a non-Jewish man. That’s why he joked about his nazi background.

  243. @John Johnson

    I don’t doubt that the original script imagined a Vietnam veteran trying to live in 1970s NYC. But Scorsese added moral complexity to the story just as he does in all his movies.
    Travis Bickle isn’t a Rambo type character that you are supposed to cheer.

    The complexity was already there in Schrader’s script. It wasn’t a gung-ho script that Scorsese altered. It was deadly serious from the first draft. (In contrast, Coppola did take out Conan-istic fantasy elements from Milius’ original version of APOCALYPSE NOW.)

    Initially it seems that way but then we see he is in fact truly demented as seen by how he considers killing Palatine. What would be the point? Travis has no idea.

    He does have some idea, and it isn’t different from what most of us feel. We see politicians as liars, sleazebags, hucksters, charlatans. We come to live with it, but someone like Bickle is deeply offended by the BS. In that sense, he owes something to Holden Caulfield in THE CATCHER IN THE RYE who finds the adult world irredeemably compromised and corrupting of the young. He wants to save childhood innocence from the ways of the adult world.
    We accept the discrepancies between what politicians promise and what they deliver(or can’t deliver even if they tried). Our is a modern democratic tolerant mindset. But Bickle’s mindset is more ancient and prophetic. He wants the biblical rain to come. (He’s a false christ but driven by passions similar to that of Jesus. He wants to break through lies to the truth, The Truth.)

    Politicians talk a good talk but do nothing. If anything, they are part of the problem as they do little but lie and cheat. Consider the anger that is so palpable today with the likes of Brian Kemp and other cucks. (Trump is of course a loud cuck. He talks big but walks the narrow path in fear of Jews.)
    In a way, Bickle’s rage isn’t all that strange or abnormal. Through history, angry mobs rose up and attacked the ruling class when times got bad. Look at the French Revolution and Russian Revolution. Kings lost their heads or got shot. Bickle sees a fallen world and feels that rulers are useless. They should be shot like Tsar Nicholas.

    One thing for sure, American politicians are worthless and if an earthquake swallowed up all of Congress, I would be cheering.

    There is no reason to trust him or his military career.

    It’s true he’s not entirely honest and is an unreliable narrator. But he is also more honest than your average person. Indeed, his problem stems from the fact that he looks at reality with honest eyes and doesn’t turn away. Also, he obsesses over his own feelings. He writes in the notebook that a person should not be self-absorbed but he is. He can’t help it. He has demons inside and sees hell all over. In a way, he goes for self-exorcism.

    • Agree: Wielgus
    • Replies: @Wielgus
    , @John Johnson
  244. Wielgus says:
    @Priss Factor

    Travis picks up Palantine in his taxi and says what he feels. Palantine soft-soaps him a bit. After he gets out Travis says “Yeah” to himself. Meaning, Palantine is just another phony.

    • Replies: @Priss Factor
  245. @Wielgus

    Depicting Travis Bickle as a fake vet is a stretch. Making the taxi company manager a fake vet as well is stretching the elastic to breaking point. The manager may have had to prove he got an honourable discharge etc. when he applied for the position, and Vietnam vets did not just waltz into jobs offered them by a grateful country back in the 1970s.

    I knew a guy who was injured while in the service but not in war and just let people assume he was a combat vet. They would pretty much do anything for him when he was in uniform. Buy him free drinks, open doors for him, etc. Not saying that is right but he never corrected them.

    As for background checks most employers don’t routinely do them.

    We have seen politicians have careers in law and even be in office for many years before someone actually runs a check on them.

    This actually happened to Biden.

  246. @Priss Factor

    Initially it seems that way but then we see he is in fact truly demented as seen by how he considers killing Palatine. What would be the point? Travis has no idea.

    He does have some idea, and it isn’t different from what most of us feel. We see politicians as liars, sleazebags, hucksters, charlatans. We come to live with it, but someone like Bickle is deeply offended by the BS. In that sense, he owes something to Holden Caulfield in THE CATCHER IN THE RYE who finds the adult world irredeemably compromised and corrupting of the young. He wants to save childhood innocence from the ways of the adult world.

    Palatine actually took the time to ask him like a man as to what he should work on as a politician. How would killing him solve anything or help anyone? Travis wouldn’t know and admitted he doesn’t even follow politics. Travis just wants a reason to kill someone which puts him below the politician and the street people he looks down upon.

    Holden Caufield hated the fake world around him but at least tried to find some place where he found satisfaction. He was at least trying to change his life instead of wallowing in it and becoming worse than the people hates. Holden was even considering living alone in the woods as an alternative to academic life. Why didn’t Travis walk away like Holden? TL is right that he is a masochist. He would be uncomfortable in a small White rural area. He is more comfortable around the scum he looks down upon. Only a person like Travis would go to an adult theater after complaining about how perverts are ruining the city.

    It’s true he’s not entirely honest and is an unreliable narrator. But he is also more honest than your average person.

    How so? He lies to just about everyone in the movie. Most people are not that good at lying.

    Indeed, his problem stems from the fact that he looks at reality with honest eyes and doesn’t turn away.

    Honest eyes? The guy is deluded. He complains about the druggies and perverts of his cab while popping pills. He actually gets a date with Betsy and then takes her to a porn theater and then lies about the content. The date is of course a disaster and he decides she is just like the others. Just like who? People that don’t want to go to a porn theater for a date? That’s most people. The guy is on a downward spiral towards psychopathy and is not some honest saint. He was a step away from killing anyone over just about anything. We aren’t actually supposed to cheer him on. He is one of the animals of the night that he speaks about in the beginning.

    • Replies: @Priss Factor
  247. @Wielgus

    Travis picks up Palantine in his taxi and says what he feels. Palantine soft-soaps him a bit. After he gets out Travis says “Yeah” to himself. Meaning, Palantine is just another phony.

    There’s more than that. He failed with Betsy, and that was the key. He was okay with Palantine the phony AS LONG AS he thought he had a future with Betsy. Betsy was such a dream that he thought his problems would be dwarfed by his happiness with her. Every man has the principled, the political, and the personal side of his life. Being principled is about sticking by one’s sense of rightness. Being political is about socially negotiating and compromising to get ahead. Personal is the search for happiness in one’s life.

    Bickle is, by nature, a man of principles and man of personal obsession. He’s not very keen on the political aspects of life. His principled side is deeply offended by the city(and his own rotten place in it). But he’s so smitten with Betsy that he thinks he can find sufficient happiness with her in his personal life. With someone like her, he could just ignore the world. Let the world be a hell, because he has private heaven at home with Betsy. But she rejects him, and his personal life is a void again. His other choices are political and principled. But as he’s asocial, he can only settle for principle. Driven by rage and resentment, his principles take on a radical and extreme turn.

  248. @TGD

    TGD- I had forgotten all about this restaurant even though I had eaten there many times in 1971 in the late evening when I too was driving a cab. I was harmless though- just looking to earn money after I had leg surgeries -healing up from my time in USMC. I wore nothing that would make me look like a guy recently discharged from the military.
    I remember Bickle’s Force Recon oval patch but hadn’t paid much attention. I never copied or worshipped anyone and I was puzzled why many people I graduated high school with were trying to look like Beatles or Rolling Stones.
    Almost all the cabbies I ate with were very decent people. I clearly remember the many evenings I ate at the Belmore Cafeteria- definitely old New York.

    • Replies: @TGD
  249. @John Johnson

    Palatine actually took the time to ask him like a man as to what he should work on as a politician. How would killing him solve anything or help anyone?

    The point was not to solve anything. The point was to make a statement that while most people just went along or fell for the BS, one man stood up and did something. Bickle has no power, so the only way he can strike at the Power is by act of terror. The deep state can take out a president with all sorts of dirty tricks, as with Nixon. The powerless just have terror. Of course, it won’t fix anything, just like the Oklahoma bombing. The system is too strong and can withstand a few attacks. But people strike out send a message. It’s rarely productive, but it’s how terrorism works. The weapon of the powerless.

    Palantine did ask him a question but when he got a very honest answer, he replied with the usual milquetoast answer. It’s like Bill Clinton understood everyone’s pain, and etc. One thing for sure, TD is right about politicians. Just look at the Clintons, Obamas, Bushes, Romneys of the world. They really are scum of the earth. Whores really. If Bickle got one thing wrong, it was seeing Palantine as the pimp of Betsy the whore. In fact, Palantine himself is a whore of the real power.

    Travis just wants a reason to kill someone

    No, Bickle isn’t like some of the recent killers who just randomly shot people, as in Vegas. Bickle targeted certain people for what he believed to be moral or spiritual reasons. If he just wanted to kill ‘someone’, he could have randomly shot strangers for the hell of it.

    Though I don’t condone killing people, I wouldn’t shed a tear if most politicians were mowed down by some nut. They are such total scum. Rubio, Pelosi, Schumer, and rest of them.

    Holden was even considering living alone in the woods as an alternative to academic life. Why didn’t Travis walk away like Holden? TL is right that he is a masochist.

    Bickle can’t walk away because he’s in the fight. He’s not a political animal but a ‘spiritual’ one. Of course, there is hurt and pain in remaining in the fight, but it makes one feel alive. Why doesn’t a boxer quit? He won’t get hit anymore. Is he a masochist for entering the ring? Only if he only wants to be hit. He enters the ring because being hit is the price for getting the chance to hit back and win. Even though he outwardly looks like some urban nobody, Bickle feels he’s in the fight, and the city is his arena, his ring. A boxer no longer gets hurt once he hangs up his gloves, but he also feels dead. It’s like the cop played by George C. Scott in NEW CENTURIONS. He reties and can have peace but he feels empty and finally commits suicide. Even though working as a cop was a pressure-cooker, he felt alive cuz he was in the fight.

    Only a person like Travis would go to an adult theater after complaining about how perverts are ruining the city.

    Bickle is passive/aggressive. And he seems to go to porn theaters not because he’s really into porn but because it’s just there. He has insomnia and he needs some kind of diversion, and porn theaters back then were ubiquitous. He seems to watch the screen with a blank stare. He’s not turned on. A part of him passively accepts the city for what he is. He even says he will take any passenger and drive to any part of the city. But despite all that passivity, he notices that something is terribly wrong, but he’s not sure how to articulate it as he lacks the mental map or fixed moral compass to make sense of things.

    How so? He lies to just about everyone in the movie. Most people are not that good at lying.

    How many people does he lie to? He hardly talks to people. He applied for the job, and he admits he didn’t get much school. He didn’t lie to Betsy. If anything, he was overly candid about how he felt about her and Albert Brooks character. He told some bs to Palantine but that’s just small talk.

    He lied to the secret service person, but that was NOT good lying. He’s not a good liar. He wrote some lies to his parents, but how many people are so honest with their parents, especially in the West when young grow up with the concept of ‘privacy’?
    He told one lie to Iris about him working for the government, but obviously he wasn’t going to tell her that he’s planning to commit an act of terror. That said, he’s very honest about his feelings with her. He speaks from the guts when he says she should be home and lead a normal life.

    Honest eyes? The guy is deluded.

    One can be deluded and honest. Honesty isn’t same as truth. If the deluded honestly believe in their delusion, they are honest.

    He actually gets a date with Betsy and then takes her to a porn theater and then lies about the content.

    He doesn’t lie about the content. They both know it’s porn. But he says it’s okay because the whole city seems to think it’s okay. Here’s the irony. To impress Betsy, Bickled tried to be normal and hip. Because NY has so many porn theaters, Bickle thinks it’s the normal thing to do.
    He doesn’t really get the class thing. The liberal class legalized porn, but it still thinks it’s too good for that kind of stuff, at least for certain occasions. Bickle fails to understand these nuances, that the very people who support the legalization of porn prefer to attend operas and broadway plays for their own leisure(though, over time, porn pretty much became mainstream thing through cable and netflix). (The nuances of class and status were also well-illustrated in SATURDAY NIGHT FEVER where some Brooklyn woman puts on airs with Travolta’s character even though she too is a social inferior around those she warms up to.)
    In the scene in GOOFELLAS, young Henry gets pinched while selling bootleg cigarettes. He keeps saying “it’s okay”. To Henry, it’s the normal thing to do because he works for the Mob, and because so many people take part in illegal activities. Bickle likewise thought porn was okay for everyone since it’s so much a part of the city.

    The date is of course a disaster and he decides she is just like the others. Just like who?

    He does take it badly and his rage is irrational and misplaced. However, there is a kernel of truth to her ‘being like all the others’. Betsy is a hypocrite. She joins a political campaign and admits she’s cynically selling ‘mouthwash’ and is taken with Palantine’s sex appeal. Also, it’s a status thing, being part of the campaign and involved with some glam-candidate. She does it more respectably but it’s the same shit show. She is a whore too, hardly better than street hookers; in some ways worse because of the conceit of respectability.
    And who can deny this when we survey the social and political landscape? Just look at all the shits in Washington DC. Look how they sell their souls to the highest bidder. And who legalized porn? It was the liberal elites. Are scum like Rubio and Romney and Graham better than street walkers? And look at the Jeffrey Epstein connections. And look at the tastes of the modern elites. They think they’re better because they attend contemporary art museums strewn with trash.

    At least Bickle is agonized by his inner contradictions even though he lacks the means of self-understanding. In contrast, people like Betsy are so sure of their class and respectability when they are shallow conformists who suck up to the power. Just how did the respectable community become so supportive of globo-homo and BLM? They only care about status and reputation. The Betsies of today would all be virtue-signaling with BLM and globo-homo.

    The guy is on a downward spiral towards psychopathy and is not some honest saint.

    True, he’s not a saint. A saint wouldn’t take up arms. But he is willing to be a martyr. He’s a false christ but resembles Christ. Jesus had to forgo personal happiness with family and also political power/wealth and rise above tribal affiliation to belong to all humanity. Paradoxically, belonging to everyone is the loneliest thing. This is where Bickle resembles christ as Todd’s Lonely Man.
    But unlike Jesus who freely chose the righteous path, Bickle is pushed into it because he’s asocial(and lacks political skills) and failed to find happiness in personal life. It wasn’t his first choice but his last resort.

    In LAST TEMPTATION, Jesus is presented with the happiness of marriage and family, but it is HE HIMSELF who rejects it and chooses the cross. In contrast, if Bickle could have found happiness with Betsy, he would have forgotten about the world. In that, he’s a false christ. His ultimate motivation isn’t pure. But there is a sincerity in it.

  250. Some noteworthy films from the 70s and 80s.

    See them before Youtube takes them down.

    And this is from 50s

    • Replies: @SunBakedSuburb
    , @Wielgus
  251. Travis’s Military Service

    Ironically, the actual ex-Marine was Harvey Keitel. He looks it. He’s buff when we see him the first time on the stoop.

    Taxi Driver was filmed in the summer of 1974. The script was written in 1972. Travis born in the mid-to-late 1940’s so of course he served in the military-he is clearly an able bodied man as we see from his exercise routines so there would be no reason why he did not serve in the military. That was the law.

    Also, Travis is clearly familiar with unarmed combat to a degree as when Brooks tries to escort him to the door of the election office.

    Travis, honestly, looks old for his 26 years (De Niro was 31) like he’s already has some searing memories.

    Nor is Taxi Driver really a comment on the poor masses. De Niro is living much better than most 26 years males today. For example, he is living in another state from his parents, not in their basement.

    Travis does not follow politics. He talks to Palentine about those issues when Palentine is in his taxi but that is not why he attempts to assassinate the man. He does so in an attempt to attract attention, as Bremer did.

    • Replies: @John Johnson
  252. anonymous[397] • Disclaimer says:
    @Wielgus

    If you tell a potential employer you are a veteran, they will ask to see your DD214.
    Some mentioned about the guy’s jacket and something about it indicating airborne. Airborne is an Army thing, not the Marines.
    Others have talked about the guy not mentioning what division he was in. A Marine wouldn’t do that. He’d say he was with the 3/7 or whatever it was — Third Battalion/7th Regiment. The fact that the 3/7 (or whatever it would have been) is part of the 1st Marine Division wouldn’t be worth mentioning. He might have said where he served if he was in combat — Musa Qualeh or wherever it would have been during the Viet Nam War, but might well have just mentioned when he was in and then a fellow Marine would know where without it having to be mentioned.

    • Replies: @Wielgus
    , @Priss Factor
  253. @Priss Factor

    The point was not to solve anything. The point was to make a statement that while most people just went along or fell for the BS, one man stood up and did something. Bickle has no power, so the only way he can strike at the Power is by act of terror.

    Yes that is one layer of it. Palantine is “the system” and initially we are to believe that we should support him lashing out and even possibly killing Palantine.

    Let me get to the crux of the problem with Bickle.

    The only reason Palantine is in his sights is because of Betsy. He was trying to score a date and faked interest in the campaign. That is what led him to wanting to kill Palantine. He never had an interest in politics.

    If he didn’t botch his date with Betsy by lying and taking her to an adult theater then he wouldn’t have wanted to kill Palantine. In fact in an alternative outcome the date could have been a success and he would have been a huge supporter. Well so now this politician is no longer part of the system he rages against? Yes because if Travis was getting laid on a regular basis by Betsy he would have believed that Palantine was a great guy. So it is really not about “the system” but his own rage over botching the date.

    Scorsesi cooked up a multi layer morality cake. You can watch it like a standard revenge flick and cheer him on as he kills the pimp. I certainly did. But you watch again and realize that Bickle was about to kill Palantine and anyone else that happened to cross him. He is the guy that would have killed someone over a parking space. Like I said we aren’t supposed to be cheering him on. Scorsese is wondering to what limits we will cheer on a pyscho in his quest for revenge. It’s kind of a trick movie. Our moral standards become questionable by celebrating him. What makes him different from the animals of the night? Nothing, and in fact he is worse than most of them. We actually don’t know anything about Palantine. He might do more to clean up the country than most politicians and yet Travis was about to kill him just because Betsy left him.

    • Replies: @Priss Factor
  254. @Jeff Stryker

    Also, Travis is clearly familiar with unarmed combat to a degree as when Brooks tries to escort him to the door of the election office.

    Yes he does a quick karate pose when escorted out of the building. Certainly nothing that advanced.

    That still doesn’t explain his poor fitting jacket with the wrong insignia.

    In the scene where he buys the handguns he is fascinated by them like a new gun owner.

    You can tell that he is mesmerized by them and feels a sense of power as he aims at the people on the street.

    He acts more like a new gun owner than a combat veteran.

  255. Wielgus says:
    @anonymous

    Nobody questions his veteran status in the film, and in the mid-1970s Vietnam vets were pretty ubiquitous in the USA and also not exactly admired. I see no particular reason why Travis would be pretending although he is an unreliable narrator.

  256. TGD says:
    @Lost American

    I had forgotten all about this restaurant even though I had eaten there many times in 1971 in the late evening when I too was driving a cab.

    There are no cafeterias and precious few diners left in NYC. Today, if you want something to eat, you go to a fast food place. That’s why Americans are fat.

    I am trying to remember if the Belmore had a free seltzer (push back type) dispenser.

    • Replies: @Lost American
  257. @anonymous

    Others have talked about the guy not mentioning what division he was in. A Marine wouldn’t do that. He’d say he was with the 3/7 or whatever it was — Third Battalion/7th Regiment.

    Neither Schrader nor Scorsese was in the military, so he couldn’t know that.

    Also, Bickle is just an atypical person.

    Or maybe he served in the army but said Marines to sound more special.

    • Replies: @Wielgus
  258. Wielgus says:
    @Priss Factor

    I don’t think Kubrick was in the military either but several of his films have military settings and he tends to get things like uniforms right, perhaps as part of his general attention to detail. Scorsese and Schrader are probably less concerned about such details.

  259. @Priss Factor

    The powerless just have terror. Of course, it won’t fix anything, just like the Oklahoma bombing.

    The Oklahoma City bombers were the opposite of powerless. There were dozens of federal agents who had offices in that building and not one was in his office when the bombs* went off. Security at a twin building in New Orleans was ramped up 10X two months before the bombing and the security guys there were stalking around like they had been whopped in the head with a two by four.

    * not a typo–there were more than two bombs that exploded in that building.

  260. @John Johnson

    Yes that is one layer of it. Palantine is “the system” and initially we are to believe that we should support him lashing out and even possibly killing Palantine.

    I never got that feeling from the film. Because the film is so in sync with Bickle’s mentality, some may be led to believe that Schrader/Scorsese was endorsing his mission, but from the very first scene, there’s no doubt that Bickle is a very disturbed character and not only in reaction to the urban decay but his own demons. Even when doing something as mundane as applying for a job, there’s something a bit off about him, and the manager notices it right away. Ironically, they connect when Bickle says he was a Marine in Vietnam. So, Bickle’s credentials as a killer in a foreign country makes him seem ‘more normal’ to the manager. This is an American Imperial contradiction. Veterans are often said to be the best, noble patriots, but what are military men? They are hired and trained killers who pull the trigger without questioning and without remorse.

    Sure, Schrader and Scorsese understood where Bickle is coming from. They do share some of the same frustrations. But many people do. But why does Bickle take to the next step? Why does he snap when so many people in NY don’t? So, the film never led us to believe in the rightness of Bickle’s act. Rather, it brings us close to the psychology of righteousness and a purism that grew out of impurity, not only that of the city but from within Bickle’s heart. I watched the film several times since the 80s, and it never struck me as akin to DEATH WISH or even DIRTY HARRY that makes us cheer on the violence. Bickle is on the side of order, but he’s a man of disorder.

    The only reason Palantine is in his sights is because of Betsy. He was trying to score a date and faked interest in the campaign. That is what led him to wanting to kill Palantine. He never had an interest in politics.

    That is true but not true enough. It was indeed through Betsy that Bickle became obsessed with Palantine because she worked for him. And it’s true that Bickle isn’t political in the conventional sense of following issues and party platforms. But in another way, Bickle is profoundly political because politics, in essence, is about the struggle for power and the theory of just order. Bickle is a cabbie philosopher who sees the reality and seeks answers. Being ill-educated and isolated, he has to form his own thoughts and find his own answers. (This was before the internet.) He doesn’t read but he writes. He keeps a journal. He makes Biblical references though probably not well-versed with the Bible(like the retard in SLING BLADE is). So, Bickle is indeed very political in the primal sense. He sees so much that is wrong and wants some new kind of order. And on some level, he realizes he too is a mess. After all, at one point he resolves to cut out the drugs and junk food and exercise and harden his body. He must purge the rot within and take on the rot on the outside. This is where his case is like that of Mishima who wanted to die at the peak of his life in a personal kamikaze against the system he deemed to be utterly corrupt and compromised. Bickle hardens himself and disciplines himself for the mission. And in his prime, he’s going to do his part to clean up the system by taking out Palantine, the usual phony who’s all talk about the PEOPLE but is really about his own vanity. Even though he came to target Palantine due to Betsy, he was looking for a meta-Palantine, some symbol of corrupt power. So, even if he hadn’t met Betsy, his rage might have found another ‘Palantine’, a similar symbol. Also, the personal is political, as the Left loved to say. And the political is personal. There is no pure politics and pure personal life. They bleed into one another as no motive is pure or totally abstract or isolated. So, it isn’t entirely accurate to say Bickle came to target Palantine purely for personal reasons related to Betsy. He had a crudely political vision of the world and wanted to do something, and everything crystallizes when his failure with Betsy makes him fixate on Palantine as the symbol of the big pimp(as well as a whore himself) that is all BS talk.

    In fact in an alternative outcome the date could have been a success and he would have been a huge supporter. Well so now this politician is no longer part of the system he rages against? Yes because if Travis was getting laid on a regular basis by Betsy he would have believed that Palantine was a great guy. So it is really not about “the system” but his own rage over botching the date.

    No, he would never have been a HUGE supporter. But he would have been happy to go along out of his bliss with Betsy. But given his mental imbalance, even if his relationship with Betsy might have worked out, it’s possible that his neurosis would have returned in one form or another. In RAGING BULL, LaMotta does get the girl, but he is still overcome with issues of envy and paranoia. And the Scorsese scene in TAXI DRIVER is suggestive of how Bickle might have ended up. Even if he married Betsy, his bliss might have soon turned into paranoia, like in the film L’ENFER by Chabrol.
    Even without targeting Palantine in particular, Bickle might have gone on seeking for dragons to slay, a ‘Palantine’, any figure of authority can be a ‘Palantine’.
    But the ending of the film does suggest that so much of what is political is personal. Bickle who would have been condemned as a psycho had he killed Palantine is valorized as a hero because he killed a pimp.
    Betsy who dumped him as a loser meets him once again as folk hero of sorts. And in a gentle way, it is Travis who dumps her in the end. It’s like, through his validation as hero, he has gotten over her. He blew his wad. In that sense, more than getting her per se, what may have mattered more was getting her respect and he got it. And the status-thing is reversed. In their earlier encounter, Betsy thought she was too good for him. But as folk hero, Bickle feels he is above her.
    Through his act, he showed the city that he stuck his neck out and did something good. There was a famous NY story of so many people observing a murder in progress but having done nothing. But Bickle did take part. Before he saved Iris, he killed a black robber. He could have just remained hidden and not involve himself, but he acted. He did what most people would not.

    Yes because if Travis was getting laid on a regular basis by Betsy he would have believed that Palantine was a great guy.

    But then, the problem with getting what you want is it no longer seems so special once you get it. The excitement and romance are in the getting, but once you get it, it’s not special anymore. It’s like Benjamin Braddock looks a bit deflated at the end of THE GRADUATE. There was so much excitement in the getting but with the prize by his side, he feels his life has gone over the climax, and the rest is just one long slide. Bickle may be the kind of person with a compulsive hunt complex. He has to be hunting something. For love, for hate. He’s always on the lookout.

    So it is really not about “the system” but his own rage over botching the date.

    True, but it’s also true that one becomes acutely aware of the system mainly through one’s personal problems. Take Ron Kovick in BORN ON THE FOURTH OF JULY. Had he not gotten paralyzed from injury from Vietnam War, it’s likely he would have remained a patriotic pro-war American. But he got injured, and his failing body led to a failing mind, and that made him question everything. Even so, there was sincerity in his new consciousness that objected to war. In a similar war, once Bickle does embark on his political mission, he is really committed to it as the defining factor in his life(and death).

    One can argue that everyone’s motives are impure. Why is Palantine in politics? Is it surely political or ideological with him? Or, is he driven by personal ambition. Donald Trump has a huge ego, and his candidacy was certainly not only about serving Americans. So, whether one wants to be a politician ruling over people or some radical taking aim at a political, it’s unlikely that either has pure motivations.

    In THE IRISHMAN, you have a sociopathic character who is also involved in politics. In the film, various bigshots talk about the People and Justice, but they are out to get their own piece of pie. Unlike Bickle who just doesn’t fit in, Sheerhan does fit in because he never asks questions and is reliable at taking orders. Bickle is crazier but, in a way, more admirable in that he chooses his own targets instead of taking orders and being a company man. But THE IRISHMAN shows that institutions are also full of psychos. In the end, it’s not about psycho vs sane but social and asocial. A social psycho has a better chance in life than an asocial saint, the kind in Bresson’s films. Problem with Bickle is he’s both asocial and a psycho.

    RAGTIME is interesting as comparison. It too is about twist of fate toward the ‘political’ because of personal problems, usually dealing with sex. One guy turns to radical bomb-making because a woman left him. The Jew seeks a new life because his wife cheated on him. The black guy turns terrorist because his wife got killed. The rich guy committed murder because his pride was sullied by some other rich guy.

    Scorsesi cooked up a multi layer morality cake. You can watch it like a standard revenge flick and cheer him on as he kills the pimp.

    I disagree. TAXI DRIVER is so disturbing from the first scene of steam rising from the sewer and the lurid score that it’s hard to see Bickle as some kind of conventional movie hero. Even if one wanted to see it like DEATH WISH, it’d be rather difficult because Bickle is obviously so troubled and tormented.

    But you watch again and realize that Bickle was about to kill Palantine and anyone else that happened to cross him.

    No, I don’t get the sense that Bickle was out to kill anyone in his way. He seems intensely focused on his target. He was really out to get Palantine and tried to pull out his gun only when he got very near. And he shot scumbags in the brothel. There are moments in the movie when he aims his gun at the TV, and he seems to want to strike out at something. But when the moment comes, his targets are crystal clear.

    He is the guy that would have killed someone over a parking space.

    No, he’s the very opposite. He’s the type who wouldn’t do that, which is why so much rage builds up inside him. If he were more garrulous and open, he might let off some of his steam like the eye-talians. But he says he will drive anyone anywhere in the city. That part of him is passive, and he is resigned to so much that is unpleasant. When he starts small talk with the girl at the porn theater candy counter and she rebuffs him, he just walks away with wounded pride. One gets the sense that he’s walked away from many encounters and problems. And that is why all the rage builds inside him. He’s the very opposite of DeNiro’s character in JACKIE BROWN who pulls out his gun and casually shoots someone for being annoying. The passive ‘gentle’ side of Bickle wants no trouble with most people, but this means that all the negative emotions from various infractions build up inside him, and he wants to release the anger somehow. Consider the fat Chris Penn character in Robert Altman’s SHORT CUTS. He seems to take insults and humiliations, but at the end explodes with murderous rage and kills a girl.

    What makes him different from the animals of the night? Nothing, and in fact he is worse than most of them.

    Paradoxically, he’s ‘worse’ precisely because he’s ‘better’. A lot of people we see in the film are resigned to what they are. They could be other cabbies, druggies, hookers, pimps, or other dregs of society, but they are not bothered by what they do. Whether it’s ‘clean’ Betsy content to take part in some sleazy political campaign or ‘dirty’ Iris who’s okay being a 12 yr old hooker, Bickle isn’t content to just watch life go by. He seeks and demands answers. This is the ‘better’ side of him because he thinks and struggles. He doesn’t want to be resigned to his fate as just another person making ends meet in NY. But, this need to know also makes him ‘worse’ as he’s driven to madness by the contradictions.

    We actually don’t know anything about Palantine. He might do more to clean up the country than most politicians and yet Travis was about to kill him just because Betsy left him.

    Actually, we know a lot about Palantine. He’s not really a character but a type. He represents the American Politician sold as ‘mouthwash’ who will say anything to anyone to win votes. He’s Mitt Romney, he’s Gov Cuomo, he’s Lindsey Graham, he’s David Perdue, he’s Obama, he’s Bill Clinton, he’s Rick Santorum, he’s Ben Sasse. He is any number of phony baloney politicians who finds roles in the so-called ‘liberal democracy’.

  261. @Priss Factor

    “But we are supposed to approach it spiritually”

    The goal is to eventually view all of life through a spiritual prism without the burden of dogma.

  262. @Priss Factor

    The New Centurions (1972) is a more realistic cop movie from the decade where cops eclipsed the cowboys. Contrast with Don Siegel’s adrenalized Dirty Harry (1971). Both are fine films though Clint Eastwood’s gunfighter in hippie-hangover San Francisco is more fun.

  263. @Priss Factor

    Thanks for showing this film; It has been a long time since I laughed at a movie so much. The George C. Scott character is such an idiot. If he wants to find his daughter, all he has to do is to call a few casting agencies used by XXX movie people. They existed in 1979. The movie would have been over in minutes.
    This movie is like a sequel to Taxi Driver. This is the second film where deadly force is used to kill a pimp. Both pimps are shown to be nice to the girls. That is why the protagonist shoots them.
    My theory is that Paul Schrader was a creepy kid in High School who never had a date. He would obsess over a girl or be rejected by her. Then she would date the campus jock or clean cut guy. They would marry and have healthy children. In Schrader’s mind the girl must have been seduced away from Paul and is evil. He must be killed to win the girl back.
    To sum up Paul Scrader is one sick puppy and should be sterilized.

  264. @TGD

    TGD- I don’t remember if there was a selzer dispenser.
    I liked the open atmosphere. It was quiet and when cabbies talked they didn’t speak loudly. I don’t remember if it was open all night. I ate there in the late evening and maybe after midnight.

    CBGBs is gone. Is Chinatown still intact? The surplus stores and the fun pawn shops are probably long gone.

  265. Wielgus says:
    @Priss Factor

    I watched the last of these. It was excellent. It was apparently somewhat ground-breaking at the time to get a German actor, Hardy Krüger in this case.
    One interesting bit of British gamesmanship is visible in the first place von Werra is taken after capture. The first interrogator wears a British army first lieutenant’s jacket before the prisoner is brought in. He asks an NCO what rank von Werra is and when told he is a first lieutenant, the interrogator fishes a captain’s jacket out of the wardrobe and puts this on, before von Werra is ushered in. He clearly wants to outrank prisoners, but may not even be a British army officer at all. It is all psychology.

  266. @Lot

    I might have jumped the gun by listing those first two. When I think “Taxi Driver” I automatically think of “Mean Streets” the earlier lesser known film with the classic duo of DeNiro and Harvey Kietel.
    Not specifically “Right Wing”, but captures that same essence of the noctournal underbelly of NYC.
    “French Connection”, I was thinking Gene Hackman was sort of like a proto-Dirty Harry type politically incorrect cop always bucking the top brass and going after the scum-bags.

  267. @Trinity

    The Jewish Mafia is mentioned in The Godfather. “You don’t mess around with Moe Green”
    Moe Green was Bugsy Siegel
    Arlen Roth was Meyer Lansky
    [ New York Mafia-Las Vegas-Cuba]
    It’s also mentioned in the film “Bugsy” with Warren Beatty as Bugsy Siegel and Harvey Kietel
    as Mickey Cohen.
    In very early gangster films 30s-40s you will often see the gangsters portrayed as Jewish or Irish
    as well as Italian.

  268. Cowboy says:

    Travis is struggling with the moral guilt that he can’t do what he ought and to assuage that guilt he finds relief in others who likewise are unable to do as they ought only their guilt, by Travis’s standards, are greater than his and his judgments against their failures will atone for his guilt. Total depravity man.

  269. Welles in Hollywood TV Movie


  270. couple of points:

    -could be argued Travis was weirder and more asocial than his fellow cabbies, who at least try to commiserate in their crap nightshift lives in a diner scene. then it is shown how Travis cannot relate to even the more miserable groups of men, a sign of the omega autist incel.

    -could be argued he did go to Nam because he had a Vietcong flag on his wall – then again, might have been cosplay, present and much more frequent in today’s incels too.

    -could be argued Travis wants to kill Palatine out of a jealousy of Betsy’s dedication to his campaign. if you notice, Betsy is the typical loner liberated working woman, that due to slavish dedication to her work finds herself surrounded by every beta pc orbiter around (there is a character like that in the desk next to hers, a pale chubby dude with glasses and Jewfro), or at best the nwords from Palatine’s detail. she may feel for Palatine even physically, as white liberal women are prone to with their candidates (in part daddy complex too); even more so than other women because liberal women tend to be more lonely, like Betsy is. however, since Palatine is far up and unavailable, therefore she found Travis interesting due to his closer availability and offkilter directness, which was some alpha compared to everyone else. of course, he messed it up by his own degeneracy, and afterwards when doing his stalking, he notices how dedicated Betsy is to Palatine and “gets it”. therefore he feels like the most honorable way out is to kill both a phony politician (as Travis gathered when Palatine jumped in his cab and just gave him derivative answers to his burning desire to stop crime and degeneracy) and the man distracting his beloved from looking at him. of course, it doesn’t work as he can’t bear himself to plan things appropriately (secret service was onto him already, like onto so many modern incels), but the saving of Iris (in which he cosplays instead her dad) gives him some redemption.

    – finally, thus Travis may be a crazy autist defeatist, but at least he knows to have enough honor to go out with meaning and purpose. even if he had killed Palatine, contra Scorsese, it would have been consonant with honor by killing a phony; even while allowing that such a suicide killing would have been counterproductive in the long run to his honorable cause too; like some other assassins who did kill someone evil but did not further their cause, if not actually hurting it (good old John Wilkes Booth comes to mind). furthermore, that autist incel rage was channeled to another honorable purpose but that was instead productive in the end, saving at least one lost lamb (Iris). it’s better that way for these otherwise hopeless souls, instead of never having been born, or thinking they’re born to die without honorable salvation. you can’t have Dirty Harry level Aryan sheepdogs all the time, and trying to eugenically get them generates so much comfort all sheepdogs are disappearing altogether, even the lowly scrappy autist crazy Travis kind (interestingly enough, dark hair)…

    of course, to channel such rage properly and turn things around for the sheepdogs, it helps to quit porn theaters and find such salvation and purpose.

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