Mise-En-Scene in Taxi Driver

cabriolet number one wood is few Travis Bickle, a upset hacker driver who is twain a seer and/or a mad man. We atomic number 18 never allowed to go what the video itself imagines of him, we atomic number 18 never told to love him or despise him and the movie never states whether he is ethically right or wrong. This movie is not about the solutions to the problems of the clubhouse. It is unspoilt about the questions and little-knowns. It is just an interesting travel in the rude(a)fangled society that could mark concourse cover about Travis hours and hours. Talking with new(prenominal) multitude, I was amazed how people can think of him in contrasting government agencys. Some theorize he is sick, some claim he is their prophet.The fast cuts in the editing (when he practices with the atom smashers) make us enter in his state of mind. exclusively withal, some long takes force us to analyze and actualise what happened ( rattling high-angle takes that Sc orsese calls Priest shots after(prenominal)ward the drubbing. ). The movie switches dynamically among these styles, which leaves the earshot an infinite ports of thinking about the Travis. This is beyond doubt not a journey equal Odysseus where the hero unendingly moves anterior. In Taxi Driver the heros journey is perpetually near the same circle. He does not suit any new people or experience new situations.Same people turn virtually him, or maybe he turns around the same people and he repeatedly recognizes similar concepts in them. In a vivid movie the concomitant that he chances with those people so many measure and in so many opposite places would be a mistake. However, this is not a realistic movie. Palantine who was already around him (thanks to the posters and Betsy) gets into his machine (which is highly unlikely to happen) he sees glad in many different unrelated places (three times) Scorsese appears in the movie twice (the unknown one of these is in t he circumstance where we premiere see Betsy.He is too watch her in the back. ). Also different people reminds him of similar concepts Betsy and Iris ar both woman who ar to be rescue from the lives they ar stuck in, and he sees many different people who cannot communicate with him. This circle with Travis in its center is also represented in the tv camera movements either the camera is travel around him or it is panning to show the prospect of the New York life through his eyes. Moreover, in two different photos the camera and Travis make the other 180 degrees of the circle and meet at the same place.These determineal elements at work to us understand and feel how Travis is also encircled and alone in that sick world. The fact that this is not a realistic movie is also boot outd by some of the elements in the narrative. First of all, Travis is expound as someone who never sleeps, and we real never see him sleeping. Secondly, the time gaps amidst the shots (sometim es a week, or maybe a month after he front most(prenominal) signs up for the job, the next shot is in his awayment, and he describes his daily routine. ) also prove that this is a stylized movie.Lastly, although he is almost illiterate (- Education? Yes, some, you know, here and at that place ), he has a diary and we receive him telling us what he is writing. He sometimes even becomes poetic. All of these argon almost implausible for an ordinary political hack driver. As a final foreshadow about the realism, I think the mien of Scorsese himself is to remind us that this is just a movie and that we should not get into the bill too much. I think he appears at a truly substantial point, when e very(prenominal)thing starts to boil and the audience risks to be caught in Travis delirium too much.Travis alienation and privacy is one of the most underlined ideas in the movie. purge when he is with other people he is very seldom shown as having a real communication with them. On e very interesting shot is when he counterbalanceborn sits in the cafe with his friends. He sits on the other side of the table and they ar on the other sides of the frame. They seem like they be very far apart from each other. Also, when Travis talks with other people (except Iris and Betsy) he never looks at them. There are even some shots where we see what he is aspect at, which shows his gulf with those people.Naturally, for a person so lost to the society exchanges are very important. It could be an exchange of a gun or a paper or feelings. Scorsese emphasizes these use some unusual high angles, looking at the action from above. It happens four times in the movie in the hack office, in the movie theater, in the gun exchange, and most importantly when he first declares his love to Betsy in the campaign headquarters. In the last one, there is only a shot of the desk from above and the camera is panning in a strange way with no obvious reason.However, we know from the two other scenes that this shot underlines the real exchange of feelings between Travis and Betsy. Furthermore, in one of the best shots of the movie, after his useless and empty talk with one the camera just stands and watches his cab passage away and fading in the streets firearm Wizard is looking at him. The scene announces his detachment from the people and the society. As Taxi Driver is not moving forward as a movie, there is no reason for an obvious change in style.The dizziness of the colors and the fact that the undercoat is often out-of-focus in the whole movie reminds us that there is no way to see the society in a sharper way and finding solutions. We are almost lost in it. Very shiny colors, especially bolshys, blues and jets, form the main palette of the movie. However, there are some slight changes of colors. For example, in the scenes where he continues his relationship with Betsy, a peaceful gullible dominates the screen. In the scenes leading to the final massac re, tearing ink becomes the leading and threatening color.Again, after that, green again becomes the main color as the scenes have a feeling of settle in them. Moreover, the Sports street is darker than many of the places in the movie suggesting a mystical feeling, which prepares us to the climax that happens there. Other important things I want to note about the mise-en-scene are the costumes and the hairs. Travis often changes the way he is change and his hairstyle according to the situation. He becomes a very benignant-looking guy when he is going to meet with Iris or Betsy. He wears his nice shirts brushes his hair.When he is going to show his peevishness or his dark side he either wears his marine or leather coat and leaves his hair as it is or even, at the end, shaves it. These changes show the instability of his record and the two opposite characters of Travis Bickle, a prophet and a sick guy. When he looks nice, we tend to like him when he looks crazy, we are afraid. Furthermore, the costumes and the hairstyles supporter Scorsese call attention to one of the most important parallelisms of the Taxi Driver that I already mentioned. Betsy often wears red enclothe as Iris does when they meet with Travis.In addition, they are both blondes. That forces us to understand the parallelism between them according to Travis they are both to be saved from the lives they are stuck in. The climax of the film is obviously the massacre as it is probably the most acute and shocking scene of the film. It is shot and alter as if it was a dream and we are never sure whether it really happens or whether it is just Travis imagination. The only thing we know for sure is that it is the explosion of his unexpressed feelings toward the society and the manifestation of his hate against the people.The use of red and some unusual high angles pains the dreamy quality of the scene. Sports reappearance and Travis excerption despite the shot that just helpless his throat a re out of our welt nightmares. Again, Scorsese does not expect us to hope in it. He just wants us to meditate in what happened. The following scenes also have the same dreamy mood. The honey oil dominate the night scenes and an interesting stop is expressed with the very slow panning of camera and the tender voice of Iris father.Also the fact that Travis got away without going into prison and Betsys way of looking that shows her admiration for him make the scene seem like a marvelous dream. At the very end, although Travis is again crusade the car, his face is lightened very strongly in a way we are not used to in the movie (It was always dark ). Is he enlightened? Is he a prophet? However, suddenly, something happens and his face seems red in the mirror, but he fixes it. Is he a lunatic? Is he deathly or dreaming? You wont find the answer to these questions in this movie.