A towering classic of American cinematic power. Martin Scorsese teams up with one of the most intense actors of that time to create a masterpiece of urban alienation. Paul Schrader's magnificent script paints a portrait of loneliness in the largest city of the world. Travis never once enters into a meaningful relationship with any character anywhere in the film. He is the most hopelessly alone person I've ever encountered on film.
He is alone with his thoughts, and his thoughts are dark ones. The film fools you on a first viewing. Is Travis an endearing eccentric? Sure, he's odd, but he's so polite, and he's got a quirky sense of humor. His affection for Betsy is actually rather endearing. But on a second view, you see it for what it is. The audience comes to see Travis's psychosis gradually, but there's actually far less development than one might think. When he talks about cleaning up the city, the repeat viewer knows he doesn't mean some sort of Giuliani-facelift. This is less a film about a character in development as it is a kind of snapshot. To be sure, it takes the stimulus to provoke the response, but does that imply some kind of central change in the character.
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