» Columns

» Reviews

» Screenplays

» Short Stories

- Join Here
- Terms & Conditions
- What is Writers Club?

Welcome back. Firstly some good news – the Cultmobile is almost up and running again, after I crashed it. Or rather, after an uninsured motorist helped me to crash it. As you can also see I’ve finally managed to clean up all that 70’s blood, brain and gristle. Zombies and chainsaw-wielding rednecks throw a hell of a party, but they’re not exactly house-proud. Still it’s amazing what you can do with a touch of baking soda and some elbow grease.

As a treat after the big clean up, I went to see ‘Godsend’, starring Robert de Niro. Seemed like a good idea at the time; it was that or ‘Catwoman’.

But even though it has uncle Bob and strong performances all round, the bottom line is - fantastic idea, terrible execution. Put it this way: if it was sent from god there should have been a return address on the package, because this one misses by a state mile.

De Niro is good in the film. But after ‘Godsend’ I needed something to wash the taste from my mouth (I really ought to stop eating videotape).

So I turned to the trusty Cult de Sac video library and found to my horror that I’ve largely ignored de Niro’s body of work in the column. So, eager to erase any memories of 'Godsend', I grabbed ‘Taxi Driver’ and slammed it into the VCR.

The movie is not exactly ‘The Deerhunter’, but it’s my second favourite de Niro film. So with a thunk and whirr on it goes.

Opinions on the film are firmly divided. There are those who find it powerful, and there are others who find it gory, cold-blooded and indefensible.

Whatever your stance you can’t deny the impact this film has had on the industry and New York cabbies.

If you haven’t seen it (you have your reasons and I’m sure some of them are even credible) the ‘Taxi Driver’ in question is Travis Bickle, a disillusioned Vietnam vet who handles his insomnia by driving inordinately long shifts. But he juggles his time well, managing to squeeze in a few porno movies in between stalking Cybil Shepherd – as you do.

Problem is Bickle’s take on life is a little skewed and he comes to think of himself as a champion of justice. His pet project is a child prostitute (Jodie Foster). Travis is determined to get her away from Harvey Keitel, her long haired pimp.

But as with most descent-into-hell movies it all goes pear-shaped and Bickle’s insanity claims him once and for all. But not before he gets himself a nifty mohican and enough weaponry to arm a small country.

Aside from Martin Scorcese’s tight direction (and his own convincing cameo) the film is held together by De Niro’s intense performance and Bernard ‘Psycho’ Hermann’s hainting score.

If you’ve ever had reservations about going to New York, this should just about put you off altogether. The city is caught in a sickly light and she’s all greasy streets and wasted humanity.

Now I sound like Travis.

Scorcese pulls a few sneaky tricks in the film, making you feel something for Travis and then showing him in a light that blows any sympathy you may have felt for him.

The finale is gruesome, horribly real and — the detractors have it — cold-blooded.

The ending, though, is unsatisfying. You can’t come back from hell, unless you’re a character in a Stephen King or Clive Barker adaptation. Travis does and it doesn’t follow the pattern established in the film.

Scorcese’s love affair with New York’s bloated underbelly has produced some stunning works, like ‘Bringing out the Dead’ ‘Goodfellas’ and ‘Raging Bull’.

‘Taxi Driver’ proudly joins them on the Cult de Sac shelf.

Oh and it also serves as a warning that no matter how good your intentions may be, women generally don’t like being taken to a porn theatre on the first date.

‘Til next time…

Last week’s Cult de Sac meaningless trivia questions: