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Author Topic: Taxi Driver (1976)  (Read 6869 times)
dave jenkins
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« on: August 01, 2007, 08:14:19 PM »

Screen caps comparison here: http://www.criterionforum.org/forum/viewtopic.php?p=132805#132805
I'm sure glad I got the superbit . . .

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« Reply #1 on: August 01, 2007, 08:25:54 PM »

Screen caps comparison here: http://www.criterionforum.org/forum/viewtopic.php?p=132805#132805
I'm sure glad I got the superbit . . .

Did the superbit just come out?

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dave jenkins
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« Reply #2 on: August 01, 2007, 11:46:47 PM »

No, it came out in Japan about 2 years ago.

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« Reply #3 on: August 08, 2007, 05:25:48 PM »

Wow! http://www.dvdbeaver.com/film/DVDReviews18/taxi_driver_dvd_review.htm

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« Reply #4 on: August 08, 2007, 07:46:12 PM »

Are you picking up the new DVD being released in a couple weeks jenkins?

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« Reply #5 on: August 08, 2007, 08:52:22 PM »

It's being released in less than a week, and yes, I've just ordered it (from deepdiscount.com). Those extras convinced me.

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« Reply #6 on: August 08, 2007, 09:31:53 PM »

It's being released in less than a week, and yes, I've just ordered it (from deepdiscount.com). Those extras convinced me.

Yeah, the extras do look good. I'm just debating whether I should double dip or not.

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« Reply #7 on: August 09, 2007, 09:36:26 AM »

Well, I bought Criterion's LD back in the day, and then the Japanese superbit DVD. I don't mind buying it again.

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« Reply #8 on: August 09, 2007, 09:50:32 AM »

Taxi Driver is one of my favorite films, but the quality upgrade from my version isn't all too much better, I never listen to commentaries, and I already have the 'making of' feature.

I'd really only be paying for the 17 minutes featurette, slightly better video quality, and an awesome case. Not worth it for me yet.

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dave jenkins
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« Reply #9 on: August 09, 2007, 10:28:44 AM »

Unless you already own the Superbit, the new disc does provide an image upgrade. The real question is, Should we wait for the Blu-ray? It's a difficult question to answer, since Taxi Driver was intentionally filmed to appear gritty. How well will the new format serve that look? Might the Blu-ray disc make everything appear too clean? I guess we won't know until it's released.

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« Reply #10 on: August 09, 2007, 10:57:13 AM »

Unless you already own the Superbit, the new disc does provide an image upgrade. The real question is, Should we wait for the Blu-ray? It's a difficult question to answer, since Taxi Driver was intentionally filmed to appear gritty. How well will the new format serve that look? Might the Blu-ray disc make everything appear too clean? I guess we won't know until it's released.

Yeah, Taxi Driver is one of those films that I love the gritty look to it. A Blu-Ray or HD upgrade doesn't really impress me that much here.

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« Reply #11 on: September 10, 2007, 08:53:10 PM »

For the people who recently picked up the SPECIAL EDITION; How are the extra's?

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« Reply #12 on: January 27, 2009, 10:57:11 PM »

Taxi Driver
Watched it 3 times in two or three days:

- the regular film
 (9/10 as i wrote the other day)


- with the audio commentary by Paul Schrader
 very interesting. Schrader doesn't speak that much, but what he says is pretty smart and since he is the writer, you tend to trust him when it comes to "travis does this because of that". The commentary is also full of annecdotes about Schrader's life when he wrote this, the making of the film and what ideas come from who. A few good points about Scorsese too.

- with the audio commentary by Robert Kolker
 quite interesting... but flawed. Kolker knows about Scorsese, that's a fact. And he analyses almost avery single shot of the movie. Most of the time, he's right, and he made me notice many things, technics and influences. But he sometimes (whithout knowing it) contradicts Schrader about interpretations of some scenes. Other times, he just over-analyses things, which leads him to go too far. I mean many people are tempted to do such things, especialy with such a strange film like Taxi Driver, and i have no problem with that. Still, when you have the scriptwriter of the movie interpretating the whole movie on the same DVD, you tend to believe the scriptwriter. The last flaw is that he fully follows the Auteur Theory (that's for Jenkins), and tends to attribute everything to Scorsese. Even things that were already in the original script (not the shooting one). All in all, it is still a great and indepth introduction to "the intellectual rigourness" (dixit Schrader) of Scorsese on that film.

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« Reply #13 on: January 29, 2009, 03:28:48 PM »

Still, when you have the scriptwriter of the movie interpretating the whole movie on the same DVD, you tend to believe the scriptwriter. The last flaw is that he fully follows the Auteur Theory (that's for Jenkins), and tends to attribute everything to Scorsese. Even things that were already in the original script (not the shooting one).
Well, that points up the problem right there.

For the record, I don't discount an auteurist approach when it's warranted. Bergman is an auteur, Herzog is an auteur. But they work with small crews on personal projects over which they exercise complete control. With large-scale filmmaking, the individual stamp a creator puts on his work becomes diluted. Hitchcock and Leone, for example, strike me as semi-auteurs: they are somewhat at the mercy of other creators with whom they collaborate (their scriptwriters, their composers) but they nonetheless maintain something over the course of their work that is distinctively theirs. Then there are the total industry hacks--the Ron Howards and Joel Schumakers--whose films are polished by interchangeable. I also think the semi-auteurs have a consistent message they--consciously or not--put over, so I'm not sure people like Scorsese or Kubrick or Huston qualify for what I'm calling the semi-auteur. They obviously aren't hacks, but they really aren't coming at us with a consistent vision. I note that the 3 directors just named have done a good deal of literary adaptation--so, in the nature of the case, they are interpreters rather than auteurs. Needless to say, they are no less the artists for being so.

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« Reply #14 on: January 29, 2009, 03:45:12 PM »

Well, that points up the problem right there.

For the record, I don't discount an auteurist approach when it's warranted. Bergman is an auteur, Herzog is an auteur. But they work with small crews on personal projects over which they exercise complete control. With large-scale filmmaking, the individual stamp a creator puts on his work becomes diluted. Hitchcock and Leone, for example, strike me as semi-auteurs: they are somewhat at the mercy of other creators with whom they collaborate (their scriptwriters, their composers) but they nonetheless maintain something over the course of their work that is distinctively theirs. Then there are the total industry hacks--the Ron Howards and Joel Schumakers--whose films are polished by interchangeable. I also think the semi-auteurs have a consistent message they--consciously or not--put over, so I'm not sure people like Scorsese or Kubrick or Huston qualify for what I'm calling the semi-auteur. They obviously aren't hacks, but they really aren't coming at us with a consistent vision. I note that the 3 directors just named have done a good deal of literary adaptation--so, in the nature of the case, they are interpreters rather than auteurs. Needless to say, they are no less the artists for being so.

Yes... but you definition includes people like Scorsese in the "semi-auteur" group. His consistent vision is far more integrated to almost each of his movies than Leone's one.
Same for Kubrick (maybe less obvious): he partipated enough to his scripts to be at least a semi-auteur.

However, the point is: all in all, I agree.

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