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Taxi Driver

  • 1976
  • 18
  • 1 Std. 54 Min.
IMDb-BEWERTUNG
8,2/10
984.802
IHRE BEWERTUNG
BELIEBTHEIT
348
158
Robert De Niro and Jodie Foster in Taxi Driver (1976)
Official Trailer ansehen
trailer wiedergeben3:07
9 Videos
99+ Fotos
Psychological DramaCrimeDrama

Ein psychisch labiler Vietnamveteran arbeitet nachts als Taxifahrer in New York. Die wahrgenommene Dekadenz und Anstößigkeit fördern seinen Drang zur Gewalttätigkeit, während er versucht, ei... Alles lesenEin psychisch labiler Vietnamveteran arbeitet nachts als Taxifahrer in New York. Die wahrgenommene Dekadenz und Anstößigkeit fördern seinen Drang zur Gewalttätigkeit, während er versucht, eine vorpubertäre Prostituierte zu retten.Ein psychisch labiler Vietnamveteran arbeitet nachts als Taxifahrer in New York. Die wahrgenommene Dekadenz und Anstößigkeit fördern seinen Drang zur Gewalttätigkeit, während er versucht, eine vorpubertäre Prostituierte zu retten.

  • Regie
    • Martin Scorsese
  • Drehbuch
    • Paul Schrader
  • Hauptbesetzung
    • Robert De Niro
    • Jodie Foster
    • Cybill Shepherd
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    8,2/10
    984.802
    IHRE BEWERTUNG
    BELIEBTHEIT
    348
    158
    • Regie
      • Martin Scorsese
    • Drehbuch
      • Paul Schrader
    • Hauptbesetzung
      • Robert De Niro
      • Jodie Foster
      • Cybill Shepherd
    • 1.6KBenutzerrezensionen
    • 198Kritische Rezensionen
    • 94Metascore
  • Siehe Produktionsinformationen bei IMDbPro
  • Am besten bewerteter Film #130
    • Für 4 Oscars nominiert
      • 22 Gewinne & 21 Nominierungen insgesamt

    Videos9

    Official Trailer
    Trailer 3:07
    Official Trailer
    Taxi Driver
    Trailer 3:13
    Taxi Driver
    Taxi Driver
    Trailer 3:13
    Taxi Driver
    Taxi Driver
    Trailer 2:06
    Taxi Driver
    5 Unforgettable Jodie Foster Performances to Watch
    Clip 1:01
    5 Unforgettable Jodie Foster Performances to Watch
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    Clip 0:59
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    Clip 2:53
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    Fotos651

    Poster ansehen
    Poster ansehen
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    Poster ansehen
    Poster ansehen
    Poster ansehen
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    + 644
    Poster ansehen

    Topbesetzung56

    Ändern
    Robert De Niro
    Robert De Niro
    • Travis Bickle
    Jodie Foster
    Jodie Foster
    • Iris
    Cybill Shepherd
    Cybill Shepherd
    • Betsy
    Albert Brooks
    Albert Brooks
    • Tom
    Diahnne Abbott
    Diahnne Abbott
    • Concession Girl
    • (as Diahnne Abbot)
    Frank Adu
    • Angry Black Man
    Victor Argo
    Victor Argo
    • Melio
    • (as Vic Argo)
    Gino Ardito
    • Policeman at Rally
    Garth Avery
    • Iris' Friend
    Peter Boyle
    Peter Boyle
    • Wizard
    Harry Cohn
    • Cabbie in Bellmore
    Copper Cunningham
    • Hooker in Cab
    Brenda Dickson
    • Soap Opera Woman
    Harry Fischler
    • Dispatcher
    Nat Grant
    Nat Grant
    • Stick-Up Man
    Leonard Harris
    Leonard Harris
    • Charles Palantine
    Richard Higgs
    • Tall Secret Service Man
    Beau Kayser
    • Soap Opera Man
    • Regie
      • Martin Scorsese
    • Drehbuch
      • Paul Schrader
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen1.6K

    8,2984.8K
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    Empfohlene Bewertungen

    bob the moo

    A wonderfully engaging and convincing slide into a modern madness from a director and actor showing some of their best form

    Travis Bickle is a Vietnam veteran who cannot sleep at night and just ends up travelling around. To try and use the time effectively he becomes a taxi driver. Things start to look up for him as he works nights and slowly starts to live a little bit. He meets a girl, Betsy, and arranges to see her a few times despite the fact that he is a little bit out of the ordinary – a quality that seems to interest her. His connection to the night allows him to see young prostitute Iris being bullied by her pimp Matthew and he begins to see his role to perhaps save her – him playing his part in cleaning up the sewer that he feels New York has become. However when his view of normal life puts Betsy off him he starts to retreat more and more into the night, looking for meaning in his life and growing more and more outraged by the world he is part of.

    Hardly the most uplifting of films it is engaging and impressive and truly deserves the reputation it has. Martin Scorsese and Paul Schrader have produced a film that convincingly portrays a man cut out of society who has the slightest connection to normality before finding it eroded away. The script is brilliant because the detail is engaging but it is this descent into a very modern type of madness that drives the film forward. Travis has just enough about him that is recognisable that it makes it so easy to go along with the rest of his madness. A major part of this is getting the feeling right about living in a cesspit; a city that seems to have forgotten its way morally – New York is the strongest example but elements of it could be parts of any city I suspect. In painting this world in such a real way, Scorsese has made Travis all the more convincing and, to a point, all the easier to follow in his fall. Like I said it is not a film to morally uplift you but one that is depressingly fair. There is no redemption in this modern world and although it appears that the violence at the end somehow redeems Travis in reality by showing "society" accepting his action it drags the rest of us down nearer the world that he hates and has become part of. I love King of Comedy for the same reason albeit in a different world.

    Scorsese injects a real understanding of the place and a real sense of foreboding into even the earliest scenes. He inserts clever and meaningful shots into scenes that other directors might just have filmed straight and his choice of scene and shot compliments the script is depicting Travis descending into madness. What makes the film even better is De Niro showing the type of form that makes his recent form such a major disappointment. He is outstanding as he moves Travis from being relatively normal to being eaten up from the inside out. His eventual implosion is impressive but it is only as impressive as the gradual slide he depicts over the course of the film. Although he dominates it, others impress as well. Foster stands out in a small role, while Keitel makes a good impression as the pimp. Shepherd is not quite as good but her character was not as well written as the others so it isn't all down to her. Regardless, the film belongs to De Niro and although the quotable scenes are the ones that are remembered it is in the quieter moments where he excels and shows genuine talent and understanding.

    Overall an impressive and morally depressing film that deserves its place in cinematic history. The portrayal of a city and a man slipping into moral insanity is convincing and engaging and it shows how well to "do" modern madness and the effects of the moral void of parts of society. Scorsese directs as a master despite this being at an early stage in his career and De Niro is chillingly effective as he simply dominates the film in quiet moments and quotable moments alike. I rarely use phrases like "modern classic" because I think they are lazy but this is one film that certainly deserves such a label.
    10TheLittleSongbird

    Still has the power to shock...

    Not only one of Scorsese's best films, but one of the best of the 70s. It is very hard hitting, dark and still has the resonance and power to shock. The cinematography is measured and chilly, yet very atmospheric, while Bernard Hermann's swansong score is superb, yet more proof at how amazing a composer he was. The story is unsettling but wonderfully told, and the script is brilliantly written. Scorcese also directs impeccably, while the acting is just excellent. Robert DeNiro gives one of his best performances, the whole film is worth watching just for his performance, that's how good it is, but that's not to dismiss Jodie Foster, Harvey Keitel and Cybill Sheppard in the supporting cast for they are just as good while Scorsese's own cameo is genuinely frightening. There you have it, another one of Scorsese's best with a brilliant atmosphere and mesmerising central performance. 10/10 Bethany Cox
    Infofreak

    Best movie of the Seventies, and one of the greatest of all time.

    So much has been written and talked about 'Taxi Driver' that it seems almost redundant to add anything more. But watching it again the other night for the nth time I was, as I have been every single time I've seen it, struck by just how perfect this movie is. It is as powerful and disturbing now as it was twenty-five years ago. It has not only NOT aged, it gets better and more relevant every year. This is without doubt a modern classic, and one of the handful of truly great, timeless movies.

    Scorsese and Schrader went on to make other great movies after this, both separately ('The King Of Comedy', 'Light Sleeper') and together ('Raging Bull', 'The Last Temptation Of Christ'), but this is easily the best movie of their careers. And Robert De Niro's too. He has yet to top his stunning performance here as the deeply disturbed and alienated Vietnam veteran Travis Bickle, cabbie and would be assassin. This character has not surprisingly entered movie legend.

    Scorsese surrounds De Niro with a first rate supporting cast, including small but effective roles from Harvey Keitel ('Reservoir Dogs'), Peter Boyle ('Hardcore'), the underrated Victor Argo ('The King Of New York') and Joe Spinell ('Maniac'). Albert Brooks and Jodie Foster are also very good, and even Cybil Shepherd, the butt of many jokes, is fine as Bickle's obsession.

    When you combine these actors, Schrader's outstanding script, and Scorsese's brilliant direction, with the stunning cinematography (Michael Chapman) and haunting score (Hitchcock fave Bernard Herrmann's final effort), you have yourself a truly unforgettable cinematic experience. If you haven't seen 'Taxi Driver' I urge you to do so immediately. It is a masterpiece, pure and simple.
    10willandthomas-picturehou

    A Shattering Tale In First Person Singular

    The impact that "Taxi Driver" had in its day hasn't diminished, on the contrary, it has acquired a relevance of Shakesperean proportions. Travis's loneliness is a hyper representation of the same loneliness most humans have experienced at different times in different measures. It is always associated with a nightmare and Martin Scorsese delivers it like a nightmare. Travis, possessed by Robert De Niro at the zenith of his powers, cruises in his taxi enveloped in Bernard Herrman and we, well, we're the passengers and everything looks terrifying and familiar at the same time. Paul Schrader sensational screenplay comes to life with the jolting force of a rude awakening. Like it happens, more often than not, with masterpieces, it signed in a rather direct way the lives of the ones who live it in a movie theater and the ones who made it. Scorsese being the giant that he is, survived it and will continue startling us I'm sure but I also bet that for years everything he did was compared to this movie. De Niro and his "You looking at me" became such an iconic phrase that even he himself ended up impersonating it. Jodie Foster awoke the insane devotion of a real life would be killer and New York, the greatest city in the world was shown with its underbelly up. A work of art, a superlative reminder of what film could actually give us and very rarely does.
    Kirpianuscus

    portrait of loneliness

    One of powerful, for its profound honesty, films. A man lost in its loneliness. Desiring love, without social abilities, example of schizoidy and full of noble intentions. Robert de Niro gives more than the role of his life but a precise, realistic portrait of a social victim. A great film.

    What Scorsese Film Ranks Highest on IMDb?

    What Scorsese Film Ranks Highest on IMDb?

    Cinema legend Martin Scorsese has directed some of the most acclaimed films of all time. See how IMDb users rank all of his feature films as director.
    See the rankings
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    Wunschzettel

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    Handlung

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    • Wissenswertes
      Robert De Niro has said that despite having won an Oscar for Der Pate 2 (1974), he was still a relatively unfamiliar face, and was only recognized once while driving a New York cab during his research for this film.
    • Patzer
      In an earlier version, Iris's timekeeper discovers a weapon on Travis, disarms him, then returns it to him as he's leaving. The scene was edited out, but the gun is still in the timekeeper's hand when he looks at his watch.
    • Zitate

      Travis Bickle: Listen, you fuckers, you screwheads. Here is a man who would not take it anymore. A man who stood up against the scum, the cunts, the dogs, the filth, the shit. Here is a man who stood up! Here is...

    • Crazy Credits
      The original television version of the film featured the following disclaimer before the closing credits: "To our Television Audience: In the aftermath of violence, the distinction between hero and villain is sometimes a matter of interpretation or misinterpretation of facts. 'Taxi Driver' suggests that tragic errors can be made.- The Filmmakers."
    • Alternative Versionen
      Original UK cinema and video versions suffered a very brief 1 second sound cut to the scene where Iris unzips Travis's fly in the bedroom. The BBFC finally restored this cut in 1993.
    • Verbindungen
      Edited into Aristokraticheskiy kinematograf: Folge #1.1 (2011)
    • Soundtracks
      Late For The Sky
      Written and Performed By Jackson Browne

      Courtesy of Asylum Records

    Top-Auswahl

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    FAQ23

    • How long is Taxi Driver?Powered by Alexa
    • What is 'Taxi Driver' about?
    • Is 'Taxi Driver' based on a book?
    • What does the cab personnel officer mean by "break my chops" and ''take it on the arches'?

    Details

    Ändern
    • Erscheinungsdatum
      • 7. Oktober 1976 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Offizieller Standort
      • Official Site
    • Sprachen
      • Englisch
      • Spanisch
    • Auch bekannt als
      • Taksista
    • Drehorte
      • 87 Columbia Heights, Brooklyn, New York, USA(Travis is buying guns at an apartment in Brooklyn Heights)
    • Produktionsfirmen
      • Columbia Pictures
      • Bill/Phillips
      • Italo/Judeo Productions
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Budget
      • 1.300.000 $ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 28.262.574 $
    • Eröffnungswochenende in den USA und in Kanada
      • 116.458 $
      • 19. Feb. 1996
    • Weltweiter Bruttoertrag
      • 28.737.520 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      1 Stunde 54 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • Mono
    • Seitenverhältnis
      • 1.85 : 1

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