Taxi Driver – An analogy of Travis Bickell
Logline: Travis Bickle, a lonely Vietnam vet, is a mentally unstable taxi driver wanting to clean up the streets of New York.
Taxi Driver reeks of loneliness. When the protagonist, Travis Bickell, is being interviewed for the cab driver job, the personnel officer immediately points out that “we don’t need any misfits around here, son,” so right off, we know that Travis is probably a misfit. Another indication that he lacks communication skills is the fact that he doesn’t have a phone. The inciting incident happens when Travis goes to the porn theater and starts talking to the girl at the counter like he wants to date her. This is where it is confirmed for the first time that Travis is a serious loner, a reject with little social skills. The amount of time he spends at the porn theater could be used reading self help books.
The antagonist is Travis’s own self worth. Travis wants to be a person, but a few times he said that he wasn’t even a person. He is a pitiful character that makes the reader feel sorry for him. He stands in his own way of getting what he wants, because he thinks that being a person requires being accepted by society. Travis also wants a woman, particularly Betsy, but his social skills are horrible. What Travis needs is to learn acceptable social skills and acceptance by society.
On their first date, Betsy tells Travis about a song by Kris Kristofferson that is about a walking contradiction. That’s exactly what Travis is. He views everything in the city as trash, yet his own apartment is littered with garbage, dirt, old furniture, and porn. Throughout the script, he talks about cleaning up the trash, the scum, the filth, yet he has created it in his own living space. Everything that he despises is exactly the way he lives.
On their second date, Travis takes Betsy to a movie – but it’s at the porn theater! This is the Plot Point 1, because then Betsy leaves and doesn’t want anything to do with Travis anymore. Boy loses girl, so this sets up everything for Act II.
One of the symbols I noted in the script was the Venus de Milo on the purple cloth at the counter of the porn theater. Venus de Milo is a representation of beauty and the color purple often represents royalty, which completely contradicts the way the women are treated in the movies shown at the theater. But the Venus de Milo is also armless, which could indicate that Travis does not getting any intimacy from women. He does, however, seem to view Betsy and Iris as goddesses (and Betsy as an angel), even though he exhibits stalkerish behavior. Before Betsy and Travis’s date, he has a couple of bottles of pills on the table. After the date, he has a “giant bottle of aspirin,” which indicates that not having a woman in his life is hurting him. In both scenes he has a bottle of apricot brandy. Apricots are often symbolic of women and beauty.
At the very beginning of the script, Travis is wearing an Army jacket with a patch that reads “King Kong Company”. That in itself hinted to me that Travis is still at war, at least within himself. Around page 50, Travis buys guns and then changes his apartment and puts up newspaper clippings about Palantine, who is running for President. Travis also begins working out and going to the shooting range. It is obvious he is planning something, but it seemed to me like he was preparing for war. There is even a hint of it when he drives around and sees a gang of punks throwing a wine bottle at him. And then he goes into a store, sees a guy robbing it, pulls out a gun and blows his face off. After that he goes to the porn theater like nothing ever happened. This is Plot Point 2, because now Travis has killed someone and there is no going back.
Travis kills his own television set when he rocks it and tips it over during a soap opera scene in which a female actress is rejecting a male. Now he is really beginning to lose it and feeling the loneliness. He shaves his head like he’s still in the army and shows up at a rally for Palantine. He appears to have a plan in mind, but never goes through with anything. But in the next scene when he’s back in his apartment, he says, “The time is coming,” referring to another rally. At times these rally scenes seemed to be like a time filler to complete the 90-pages of the script.
Travis briefly meets Iris, or at least her pimp, who hands the cabbie a $20 bill. Travis is ashamed to use the money, because he knows what the young girl does for it. He later pays to see Iris, but not to have sex. He wants to rescue her, but she doesn’t seem to want to be rescued. Like him, she lives in her own world. When he hands the same $20 bill back to the old man before he leaves, he makes a big deal out of it, and I think it’s because he probably thinks that the money belongs to Iris. He doesn’t view her as scum, because she’s a child, but he does about the pimp and the old guy.
At the end of the script, the voiceover of Travis is all about his loneliness, how he is “God’s lonely man.” He cleans up his apartment in much the same way he’s planning on cleaning up the street trash. He ends up back at a rally and gets chased away by the Secret Service, so he goes to see Iris again and shoots her pimp, the old guy that takes the money, and her customer. Travis also gets shot, but he lives and becomes a hero with his name in headlines for shooting a pimp, and Iris’s parents can’t thank him enough for having their daughter back. Had he shot the candidate, he’d have been labeled a psychotic killer. But since he shot a pimp, everyone viewed him as a hero.
The script’s weak ending is cliché, with Betsy in Travis’s cab saying maybe she’ll see him again, hinting that boy gets girl back. Perhaps the ending meant that Travis is a real person now that he’s a hero and that he’s no longer “God’s lonely man.”