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nicklloydnow · 1 year

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Saint Travis Bickle by Gedogfx

“Come here, Percival, I want to tell you something. It is not a confession but a secret. It is not a sin because I do not know what a sin is. I understand that before you can, sin, you must know what sin is-Bless me, Father, for I have done something which I don't understand. I know what a trespass or an injury or an insult is something to be set right. So I'm telling you this and, confession or not, I consider you bound by the seal of friendship if not the confessional.

Come over here. Never mind the window. Look at me. We've been through a great deal together: school, war, talk, whoring, football, nice girls, hot girls, so since you understand me and my past--if you don't, nobody does I'm going to tell you my plans for the future. There is going to be a new order of things and I shall be part of it. Don't confuse it with anything you've heard of before. Certainly not with your Holy Name Society or Concerned Christians Against Smut. This has nothing to do with Christ or boycotts. Don't confuse it with the Nazis. They were stupid. If in fact there was a need to clean up the Weimar Republic and if in fact they did in part, they screwed everything up by getting off on the Jews. What stupidity! The Jews were not to blame. The Nazis were clods, thugs. What they should have done was invite the Jews. Half the Jews would have joined them - just as half the Catholics did. Don't confuse it with the Klan, those poor ignorant bas-tards. Blacks, Jews, Catholics they are all irrelevant; blaming them only confuses the issue. We'll invite them and you. Don't confuse it with Southern white trash Wallace politics. It's got nothing to do with politics.

It is none of these things. What is it then?

It is simply this: a conviction and a freedom. The conviction: I will not tolerate this age. The freedom: the freedom to act on my conviction. And I will act. No one else has both the conviction and the freedom. Many agree with me, have the conviction, but will not act. Some act, assassinate, bomb, burn, etc., but they are the crazies. Crazy acts by crazy people. But what if one, sober, reasonable, and honorable man should act, and act with perfect sobriety, reason, and honor? Then you have the beginning of a new age. We shall start a new order of things.

We? Who are we? We will not even be a secret society as you know such things. Its members will know each other without signs or passwords. No speeches, rallies, political parties. There will be no need of such things. One man will act. Another man will act. We will know each other as gentlemen used to know each other - no, not gentlemen in the old sense I'm not talking about social classes. I'm talking about something held in common by men, Gentile, Jew, Greek, Roman, slave, freeman, black, white, and so recognized between them: a stern code, a gentleness toward women and an intolerance of swinishness, a counsel kept, and above all a readiness to act, and act alone if necessary - there's the essential ingredient - because as of this moment not one in 200 million Americans is ready to act from perfect sobriety and freedom. If one man is free to act alone, you don't need a society. How will we know each other? The same way General Lee and General Forrest would know each other at a convention of used-car dealers on Bourbon Street: Lee a gentleman in the old sense. Forrest not, but in this generation of vipers they would recognize each other instantly.

You have your Sacred Heart. We have Lee. We are the Third Revolution. The First Revolution in 1776 against the stupid British succeeded. The Second Revolution in 1861 against the money-grubbing North failed - as it should have because we got stuck with the Negro thing and it was our fault. The Third Revolution will succeed. What is the Third Revolution? You'll see.

I cannot tolerate this age. And I will not. I might have tolerated you and your Catholic Church, and even joined it, if you had remained true to yourself. Now you're part of the age. You've the same fleas as the dogs you've lain down with. I would have felt at home at Mont-Saint-Michel, the Mount of the Archangel with the flaming sword, or with Richard Cour de Lion at Acre. They believed in a God who said he came not to bring peace but the sword. Make love not war? I'll take war rather than what this age calls love. Which is a better world, this cocksucking cuntlapping assholelicking fornicating Happyland U.S.A. or a Roman legion under Marcus Aurelius Antoninus? Which is worse, to die with T. J. Jackson at Chancellorsville or live with Johnny Carson in Burbank?

Yes, I'll be out of here in a month or two. What do we intend to do, you ask? We? I can only speak for me. Others will then do likewise. But let me give you an example from my future life. Yes! I may be uncertain about the past, about what happened - it's all confused, I'd rather not think about it - but I know what the future and the new order and my life will be like. The new order will not be based on Catholicism or Communism or fascism or liberalism or capitalism or any ism at all, but simply on that stern rectitude valued by the new breed and marked by the violence which will attend its breach. We will not tolerate this age. Don't speak to me of Christian love. Whatever came of it? I'll tell you what came of it. It got mouthed off on the radio and TV from the pulpit and that was the end of it. The Jews knew better. Billy Graham lay down with Nixon and got up with a different set of fleas, but the Jewish prophets lived in deserts and wildernesses and had no part with corrupt kings. I'll prophesy: This country is going to turn into a desert and it won't be a bad thing. Thirst and hunger are better than jungle rot. We will begin in the Wilderness where Lee lost. Deserts are clean places. Corpses turn quickly into simple pure chemicals.

Then how shall we live if not with Christian love? One will work and take care of one's own, live and let live, and behave with a decent respect toward others. If there cannot be love - you call that love out there? - there will be a tight-lipped courtesy between men. And chivalry toward women. Women must be saved from the whoredom they've chosen. Women will once again be strong and modest. Children will be merry because they will know what they are to do.

Oh, you wish to know what my own life will be like? (Look at you, all at once abstract and understanding and leading me on, all ears like one of these psychologists: why can't you priests stick to being priests for a change?) Very well, I will tell you. I plan to marry Anna here in the next room. I think she'll have me. You can marry us if you like. I shall love and protect her. I can make her well. I know that I can just as I know I can do what I choose to do. She is much better already. Yesterday we watched the clouds flying along and she smiled. She is the first woman of the new order. For she has, so to speak, endured the worst of the age and survived it, undergone the ultimate violation and come out of it not only intact but somehow purged, innocent. Who else might the new Virgin be but a gang-raped social worker? I do not joke. Her ordeal has made her like a ten-year-old.

We shall live in this neighborhood. I like it here. New Orleans is a shabby gentle benign place. We shall buy a small Victorian cottage under the levee and live a simple life.

But we will not tolerate this age. It is not enough to destroy it. We shall build a new order.

Actually, you don't have to worry. Killings will not be necessary. I have discovered something. I've discovered that even in this madhouse if you tell someone something, face to face, with perfect seriousness, without emotion, gazing directly at him, he will believe you. One need only speak with authority. Was not that the new trait that people noticed about your Lord, that he spoke with authority?

The point is, I will not tolerate this age. Millions agree with me and know that this age is not tolerable, but no one will act except the crazies and they are part of the age. The mad Mansons are nothing more than the ultimate spasm-orgasm of a dying world. We are only here to give it the coup de grâce. We shall not wait for it to fester and rot any longer. We will kill it.” - Walker Percy, ‘Lancelot’ (1977) [pages 155 - 160]

#percy #walker percy #lancelot #gedogfx #travis bickle #taxi driver

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prpfs · 1 year

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Okay but Taxi Driver/Fight Club ? 🚕💥🥊

Tyler Durden/Travis Bickle

Pleaaaaase? Pretty please? Haha.

Tyler just getting in a Taxi and Travis is noticing that he's talking to himself ..

18+

Smut friendly

DEF 100% okay with dark bloody themes

Multi para/longer reply lenghts enthusiasts

Like this post if you are interested in this Crossover :)

Leave a like, and anon will get back to you!

#crossover roleplay #crossover rp #fandom roleplay #fandom rp #cc x cc #nuclear

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rollerwavegallery · 1 year

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Taxi Driver (1976)

Few films throughout history, particularly those as intellectually challenging as Taxi Driver, have earned the respect and admiration they deserve. Taxi Driver, of course, is an exception. It is still enjoyed by thousands today, who either see it as an isolated character study or deeply connect with it on a personal level, seeing something of themselves in the transcendent anti-hero Travis Bickle.

The film is one of the greatest of the 1970s and of all-time, arguably Scorsese’s best in that it provides less action and a more grounded realization of American life than his other offerings. I have never found an angry review toward this film. It handles its subject matter realistically and tastefully, despite being morbid at certain points and gratuitous at others.

The film builds atmosphere excellently, in fact it is a tour de force in how to effectively unsettle an audience. This is in no small way helped by the film’s amazing score, composed by Bernard Herrmann, also known for his work with such masterpieces as The Twilight Zone, Citizen Kane, and Psycho. Here his sensibilities are jazzier, lighter, with a touch of neo-noir. being the last score he ever completed in its entirety, we see perhaps in its blaring trumpets and empty woodwinds the encroaching figure of death. This is a movie about death, after all- the death of the American dream, and the death of the psyche.

The film is not retrofuturistic, and would therefore not be considered true Rollerwave by most fans of the aesthetic, yet it is so ahead of its time- so influential to so many films that came after it- that it may as well be set in the future, and would not look out of place alongside other entries in the Rollerwave canon as we have previously defined it.

Part of the film’s appeal is that it inadvertently serves as a time capsule of an era long since dissolved. This is a film which honestly and accurately captures the spirit of the 1970s- the outfits of the city’s denizens, the smoke wafting from doorways, and particularly the bold theater marquees which openly advertise smut, made obsolete by the arrival of VHS and home video only a year after this film’s release, in 1977. This is a particular moment in time which was fleeting and impossible to maintain, an unstable point where doubt reigned over the lives of the middle class.

The film’s impact on modern Rollerwave cannot be understated. Dialogue from the date scene is sampled to great effect in Dan Frost’s composition “ScotchGARD,” the single off his famous 2017 album “To Every Man,” while the track “ 夜は続く,” which translates roughly to “The Night Continues,” incorporates pieces of the score to craft one of the best ambient songs I’ve ever heard. Listen to it yourself and you’ll hear the unmistakable noise of the slowly deteriorating mind, picked apart by months of tedium and ticking toward oblivion.

Taxi Driver will live on long after today, given that the subjects it chooses to cover are virtually timeless. There will always be Sports and Irises and Palantines in the world- and yes, especially Travises- and perhaps all we can do is sit in the back seat of the cab as it cruises silently along the dismal urban lanes and wonder who’s driving us, and where to.

#rollerwave #review #taxi driver #1970s #martin scorsese

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sophiefleck · 4 years

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welp, between my usual Arthur thirst, my Travis and Arthur daydreams, AND having watched Brokeback Mountain for the first time yesterday....it seems I can't stop masburbating. Send help.

#joker #joker 2019 #arthur fleck #joaquin phoenix joker #arthur and sophie #joker fan fiction #gotham city #arthur fleck smut #bad romance #joker arthur fleck #travis bickle #me and that weird shit #travis bickle and arthur fleck #brokeback mountain

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droogiesanddiscourse · 3 years

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Travis Bickle NSFW Alphabet

Original Message: helloo, i wanted to ask you if could you do a nsfw alphabet for travis bickle from taxi driver (1976) please❤❤🤧🤧

OH YES PLEASE! One of Bobert’s best characters of all time. This is such an interesting character to analyze. Enjoy my lovelies!

Warnings: Smut, talk about guns, 18+ ONLY!

A = Aftercare (what they’re like after sex)

You’re gonna have to tell this man what you need after sex, as he can be quite inept at understanding social cues. If you’re in any pain, you’re going to have to verbally let him know, or else he won’t know to step in. But when you do ask, he will be very sweet and tender. He’ll try to search his grimy apartment for a half drank water bottle if you’re thirsty, or a packet of discarded crackers if you need food. Hey, it’s not the best but he tries.

B = Body part (their favorite body part of theirs and also their partner’s)

In honesty, Travis Bickle is a bit self conscious of his body. He hasn’t had the best track record in regards to relationships, and oftentimes he blames himself. Whether it’s a problem with his personality, or his physical appearance, he can’t quite pinpoint what it is. Please give him a bit of encouragement and positivity.

On you, Travis likes your hands. Oftentimes when the two of you go out in public, he’s often fiddling with your hands. It’s kinda like a calming mechanism for him, that you’re real and standing next to him. When you make love, he’s got a tight grip on your hands as he thrusts into you.

C = Cum (anything to do with cum, basically)

Easily loves to see you covered in his come. Oftentimes you don’t use protection when having sex (aaa please practice safe sex!) at Travis’s request. He loves feeling as close to you as possible, but obviously doesn’t want to get you pregnant. You can’t afford kids with the lifestyle you’re living now. So he’ll pull out and finish somewhere on your body. His particular favorite place is on your stomach.

D = Dirty secret (pretty self explanatory, a dirty secret of theirs)

He’ll constantly fantasize about you at work, using you as his main inspiration to get through the shift. He knows you’ll always be home, waiting for him at the end of the night. Oftentimes his mind will being to wanter to past sexual encounters with you, sometimes getting a little too excited. He’ll have to hide his arousal in front of his patrons.

E = Experience (how experienced are they? do they know what they’re doing?)

So he knows how to do it, technically. I mean he’s seen plenty of porn at the local cinema, that’s probably got to count for something. But doing the act in real life? Doesn’t have much experience at all, again most of his relationships in the past have ended disastrously. Working the NYC circuit as a taxi driver, he has briefly considered picking up prostitutes to “work on his game.” But these thoughts are often fleeting, and Travis feels immensely guilty for them.

F = Favorite position (this goes without saying)

Loves to have you on top of him, bouncing up and down frantically on his cock. He’ll grab your hips, encoring you down. Due to his lack of experience, he often likes when you take a bit of initiative during sex. It makes him feel a bit less embarrassed about his cluelessness.

G = Goofy (are they more serious in the moment? are they humorous? etc.)

This man does not have a goofy bone in his body, I promise. He is not very humorous during the act, and takes it very seriously. Travis is hellbent on proving himself to you. Proving that he can bring you as much pleasure as any other man. He’s so self conscious :(

H = Hair (how well groomed are they? does the carpet match the drapes? etc.)

He’s very meticulous about his looks, so he makes sure to keep well groomed down there as well as his general appearance.

I = Intimacy (how are they during the moment? the romantic aspect)

Travis would walk to the ends of the Earth for you. He is a very intimate lover, and devotes himself entirely to you. Sometimes his obsession may be a bit overkill, but he really does love you. During sex, he’s constantly telling you how much he loves you, how much you mean to him.

J = Jack off (masturbation headcanon)

No, he has a hard time bringing himself to masturbate. He finds it rather dirty, especially after seeing all the lewd acts in the backseat within the taxi driver business and watching others pleasure themselves at the cinema.

K = Kink (one or more of their kinks)

Travis will get very turned on if you find an interest in his guns. If you ask him to teach you how to shoot, he’s gonna have an instant boner right then and there. He didn’t think he could get anymore attracted to you, but you somehow found a way. You’ll feel his erection through his pants when he stands behind you, guiding your arm, his hand over yours on the gun.

L = Location (favorite places to do the do)

In either your bedroom, or his. Preferably yours, since it’s much cleaner than his apartment. Sometimes you’ll ask him to fuck in the backseat of his taxi cab, but Travis will firmly deny your request every time. After having to “clean up” after many sexual escapades by patrons, he finds the idea disgusting. He has this strange “othering” of people - people who engage in acts like that are beneath you and Travis. So it’s better to just not ask.

M = Motivation (what turns them on, gets them going)

Mentioned before, when you play with his guns it gets him pretty excited. He also loves when you wear his jacket with nothing underneath. How you look so beautiful and innocent sitting on top his bed, waiting for him to get home. Your shifts at work are the exact opposite of each other, you working during the day and him at night, so he’ll often come home to your sleeping form curled up in his jacket.

N = No (something they wouldn’t do, turn offs)

Going off of that “othering” aspect, he won’t do anything he deems to be dirty or unclean in his eyes. He hates the shit he sees on the street at night, and it disgusts him to think of you two acting like that. He wants to keep this idea of you being “pure” in his eyes. Travis is a bit of an idealistic person when it comes to you, someone who cannot be corrupted by the society he so much hates. The pedestal you are put on can be overwhelming to live up to.

O = Oral (preference in giving or receiving, skill, etc.)

The first time you gave oral to Travis, he sweared he died and went to heaven. He has a bit of a preference for receiving, because his skill isn’t completely up to par. Travis usually just copies the motions and behaviors of those he sees on the screen.

P = Pace (are they fast and rough? slow and sensual? etc.)

Usually Travis takes his slow time with you, being able to gain as much pleasure from the experience for the both of you. However, Travis sometimes has some...terrible nights on the job. So don’t be surprised if he fucks you rough and hard, removing all the stress from the day into you.

Q = Quickie (their opinions on quickies, how often, etc.)

Depends. Maybe if he’s feeling a bit needy before he goes out to work, he’ll ask for a quickie. But other than that, he’d rather enjoy his time with you right.

R = Risk (are they game to experiment? do they take risks? etc.)

Nope, not really. Travis is a pretty vanilla man. He also doesn’t want to take any risks that might cause any harm to you. Oh, and he’s not into vouyerism (ironically, as this man is basically a stalker). So he wouldn’t want anyone catching, or God forbid watching, your actions that are meant to only be shared between the two of you.

S = Stamina (how many rounds can they go for? how long do they last?)

Travis is always awake. The man barely ever sleeps. So he can last for a pretty long time, he's got a lot of pent up energy. But, he also believes in the mantra that too much of a good thing can be a bad thing. He’ll only just go one round with you a day at most, savoring what he does get.

T = Toys (do they own toys? do they use them? on a partner or themselves?)

Nope, I'm sure if you brought a toy into the bedroom Travis wouldn’t have the first clue what to do with it.

U = Unfair (how much they like to tease)

Travis so upfront with what he wants from you, he doesn’t like to beat around the bush to be honest. He's not even interested in mutually pining for each other an entire day - at that point he'd rather just have a quicky.

V = Volume (how loud they are, what sounds they make, etc.)

He’s more quiet, but Travis is a more of a soft spoken guy in the first place anyways. He doesn’t know how to express himself vocally during sex, but you can tell he is enjoying himself in other ways. His brown eyes do a lot of the talking, rolling back in his head. Towards his climax, he might grunt or groan a bit more.

W = Wild card (a random headcanon for the character)

This is horrible, but Travis disconnects you from most of your family and friends during your relationship with him. He is so devoted to you, and puts his entire heart and soul into your relationship. Travis worships the ground you walk on, and he often expects the same passion / intensity from you as well. So, he just lessens your contacts those who create a distraction in your life, easy.

X = X-ray (let’s see what’s going on under those clothes)

An average length and thickness.

Y = Yearning (how high is their sex drive?)

Not too high, it’s pretty normal for his age. However, when you first get into a relationship you couldn't keep him off of you for more than an hour. Sex was so new, so exciting to Travis, and once he got a taste he couldn’t wait for more. His sex drive does die down as your relationship progresses.

Z = Zzz (how quickly they fall asleep afterwards)

He’s a night owl. He’ll be up very late after you are finished. But he takes this time to enjoy the silence, watching over you protectively as you peacefully drift off to sleep.

#travis bickle x reader #travis bickle imagine #Robert De Niro imagine #Robert De Niro x reader #70simagines #1970simagine #taxi driver imagine

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dollwritesarchive · 3 years

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request / nsfw & smut / content warning

POSTED THIS MONTH

NSFW alphabet ; PIETRO MAXIMOFF ; NSFW LINK

( mini musing ) worth it all ; PATRICK VERONA LINK

( mini musing ) can you take me there? ; JOHNNY CIVELLO LINK

( mini musing ) chicken legs ; TRAVIS BICKLE LINK

( mini musing ) like he’s about to pray ; JOHNNY CIVELLO ; NSFW LINK

( mini musing ) playing house ; SAM ROTHSTEIN LINK

( mini musing) couldn’t face a life without your light ; JOHNNY CIVELLO LINK

( mini musing ) practice makes perfect sense ; JOSH KISZKA LINK

( mini musing ) the heart wants what it wants ; NEIL MCCAULEY LINK

( mini musing ) another broken, pretty thing ; BUCKY BARNES NSFW CW LINK

( mini musing ) be the worst i ever had ; NOODLES AARONSON NSFW CW LINK

( mini musing ) daddy loves you ; STEVE CLARK NSFW LINK

( mini musing ) cherry tartlet ; DANIELA DIMITRESCU ; NSFW LINK

#month in review #april 2021

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fangirl-imagines · 3 years

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may I ask a smut with travis bickle maybe in the taxi ? like the reader can’t pay and he asks to pay in another way... 🥰 only if i want to do it ofc

Omg yessssss! I love this xD <3

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rpingsideblog · 4 years

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Looking for Joker (2019 movie) RP! [MxM, Gen] [1x1] [Discord, E-mail, other] [Always looking]

So, as the title states I’m really craving a RP set in the world of the new Joker movie. I’ll just start off with some general information and then we can get to the fun stuff! :D

General Information

First off, I’m female, 22 and my time zone is GMT+1. I have about 7+ years of experience and really love longer/detailed replies (although of course the actual length of my replies depends on the scene and quality trumps quantity). I do try to match my partner’s length but my replies usually fluctuate between 300 - 1,500 words.

I do enjoy plotting and world-building (and headcanons are always welcome!) but I’m also more than able to jump into a RP with minimal planning beforehand. I’m mostly comfortable with purely Gen RPs or MxM pairings. I won’t do smut and I’m comfortable playing multiple characters if wanted.

The frequency of my replies can vary a lot but if I don’t reply for a long time it’s perfectly okay to message me again! I’m a pretty patient person so it’s perfectly all right if it takes you some time to get back to me.

I mostly RP here on Tumblr, Discord but I'm also fine with RPing via e-mail or on GDocs.

Also, I’m practically always looking for new partners so even if you read this ad some time in the future and are unsure whether you should contact me or not, just go ahead!

Characters

When it comes to this fandom the main thing I'm looking for is a RP that includes Arthur Fleck as one of the main characters, although I'm very flexible when it comes to who of us ends up playing him. Apart from that I'm pretty open when it comes to what other characters to include in the RP. I think it could be fun to include Bruce Wayne (or Thomas and Martha Wayne) from the movie if we want to explore the possibility of Arthur really being Thomas' son, Penny Fleck (maybe as a side character), a Batman from a different version of the DC universe (like one where he is an adult/not potentially related to Arthur if we want to ship them), a different version of the Joker, Travis Bickle from the movie "Taxi Driver" etc. I'm open to all canon characters, characters from different fandoms (provided they would fit into the world) or (male) OCs. Surprise me! :D

Themes/Plots

In terms of plot I don't really have any fully fleshed out ideas but I would love to explore 'what if' scenarios where things take a different turn during canon events. In general, I'm open to plots set either pre-canon, during the events of the movie or post-canon. I absolutely love angst and hurt & comfort (although I'm a sucker for happy endings!). I'm alright with 'darker' themes and violence/strong language but would prefer not to write outright smut.

In general I love character-driven RPs rather than action-driven ones and I tend to prefer focusing on how characters evolve and interact with each other.

I also enjoy RPs that focus on familial/platonic relationships rather than romantic ones so a plot focused more on Arthur and his relationship with his mother or the Waynes etc. would be fun as well (I think him maybe being related to the Wayne family has some interesting potential).

That being said, I am also really in the mood for a more classic/'cliche' romance story between Arthur and another (male) character that results in the other character helping Arthur stay sane/supporting him during the events of the movie. Think of a sort of "fix-it" for the movie (I know it's a little cheesy but I did really feel that if Arthur had had a better support network a lot of the events of the movie might not have transpired). I would love for this to be slow burn and staying on the more 'realistic' side (meaning that not all of Arthur's issues would get magically fixed from one minute to the next).

That's all I can think of for now. If you have any more questions please don't hesitate to ask me!

Thank you for reading! <3

#rp partner #joker rp #arthur fleck rp #joker 2019

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fyrapartnersearch · 4 years

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Looking for Joker (2019 movie) RP! [Gen, MxM] [Adv. Literate/Literate]

So, as the title states I’m really craving a RP set in the world of the new Joker movie. I’ll just start off with some general information and then we can get to the fun stuff! :D

General Information

I can RP here on Tumblr, Discord, via E-mail or GDocs. I usually prefer Discord but I'm open to either option!

Also, I’m practically always looking for new partners so even if you read this ad some time in the future and are unsure whether you should contact me or not, just go ahead!

Characters

Apart from that I'm pretty open when it comes to what other characters to include in the RP. I think it could be fun to include Bruce Wayne (or Thomas and Martha Wayne) from the movie if we want to explore the possibility of Arthur really being Thomas' son, Penny Fleck (maybe as a side character), a Batman from a different version of the DC universe (like one where he is an adult/not potentially related to Arthur if we want to ship them), Travis Bickle from the movie "Taxi Driver" etc. I'm open to all canon characters, characters from different fandoms (provided they would fit into the world) or OCs. Surprise me! :D

Themes/Plots

In terms of plot I don't really have any fully fleshed out ideas but I would love to explore 'what if' scenarios where things take a different turn during canon events. In general, I'm open to plots set either pre- canon, during the events of the movie or post-canon. I absolutely love angst and hurt & comfort (although I'm a sucker for happy endings!). I'm alright with 'darker' themes and violence/strong language but would prefer not to write outright smut.

In general I love character-driven RPs rather than action-driven ones and I tend to prefer focusing on how characters evolve and interact with each other.

Think of a sort of "fix-it" for the movie (I know it's a little cheesy but I did really feel that if Arthur had had a better support network a lot of the events of the movie might not have transpired). I would love for this to be slow burn and staying on the more 'realistic' side (meaning that not all of Arthur's issues would get magically fixed from one minute to the next).

That's all I can think of for now. If you have any more questions please don't hesitate to ask me!

Thank you for reading! <3

How to contact me:

Discord: Naomi [hashtag] 0083

E-mail: arethereanyusernamesleftornot [at] gmail [dot] com

Tumblr: @shinobutou

#indie rp #indie roleplay #independent roleplay #multiple paragraph #para #long term #email #messenger #tumblr #dc rp #submission

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the-rust-knight · 7 years

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*draws smut of Travis Bickle and Holden Caulfield* Oh y'know things are so lonely why can't people recognise that i am The Last Man *gets in argument on facebook about whether Sid Viscous liked anime*

#3 #it's a shitpost but barely y'know #i can't draw y'know?

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whileiamdying · 8 years

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UNDERGROUND MAN

By Pauline Kael

Robert De Niro in “Taxi Driver,” 1976.

“Taxi Driver” is the fevered story of an outsider in New York—a man who can’t find any point of entry into human society. Travis Bickle (Robert De Niro), the protagonist of Martin Scorsese’s new film, from a script by Paul Schrader, can’t find a life. He’s an ex-Marine from the Midwest who takes a job driving a cab nights, because he can’t sleep anyway, and he is surrounded by the night world of the uprooted—whores, pimps, transients. Schrader, who grew up in Michigan, in the Christian Reformed Church, a zealous Calvinist splinter (he didn’t see a movie until he was seventeen), has created a protagonist who is an ascetic not by choice but out of fear. And Scorsese, with his sultry moodiness and his appetite for the pulp sensationalism of forties movies, is just the director to define an American underground man’s resentment. Travis wants to conform, but he can’t find a group pattern to conform to. So he sits and drives in the stupefied languor of anomie. He hates New York with a Biblical fury; it gives off the stench of Hell, and its filth and smut obsess him. He manages to get a date with Betsy (Cybill Shepherd), a political campaigner whose blondness and white clothes represent purity to him, but he is so out of touch that he inadvertently offends her and she won’t have anything more to do with him. When he fumblingly asks advice from Wizard (Peter Boyle), an older cabdriver, and indicates the pressure building up in him, Wizard doesn’t know what he’s talking about. Travis becomes sick with loneliness and frustration, and then, like a commando preparing for a raid, he purifies his body and goes into training to kill. “Taxi Driver” is a movie in heat, a raw, tabloid version of “Notes from Underground,” and we stay with the protagonist’s hatreds all the way.

This picture is more ferocious than Scorsese’s volatile, allusive “Mean Streets.” “Taxi Driver” has a relentless movement: Travis has got to find relief. It’s a two-character study—Travis versus New York. As Scorsese has designed the film, the city never lets you off the hook. There’s no grace, no compassion in the artificially lighted atmosphere. The neon reds, the vapors that shoot up from the streets, the dilapidation all get to you the way they get to Travis. He is desperately sick, but he’s the only one who tries to save a twelve-and-a-half-year-old hooker, Iris (Jodie Foster); the argument he invokes is that she belongs with her family and in school—the secure values from his own past that are of no help to him now. Some mechanism of adaptation is missing in Travis; the details aren’t filled in—just the indications of a strict religious background, and a scar on his back, suggesting a combat wound. The city world presses in on him, yet it’s also remote, because Travis is so disaffected that he isn’t always quite there. We perceive the city as he does, and it’s so scummy and malign we get the feel of his alienation.

Scorsese may just naturally be an Expressionist; his asthmatic bedridden childhood in a Sicilian-American home in Little Italy propelled him toward a fix on the violently exciting movies he saw. Physically and intellectually, he’s a speed demon, a dervish. Even in “Alice Doesn’t Live Here Anymore” he found a rationale for restless, whirlwind movement. But Scorsese is also the most carnal of directors—movement is ecstatic for him—and that side of him didn’t come out in “Alice.” This new movie gives him a chance for the full Expressionist use of the city which he was denied in “Mean Streets,” because it was set in New York but was made on a minuscule budget in southern California, with only seven shooting days in New York itself. Scorsese’s Expressionism isn’t anything like the exaggerated sets of the German directors; he uses documentary locations, but he pushes discordant elements to their limits, and the cinematographer, Michael Chapman, gives the street life a seamy, rich pulpiness. When Travis is taunted by a pimp, Sport (Harvey Keitel), the pimp is so eager for action that he can’t stand still; the hipster, with his rhythmic jiggling, makes an eerily hostile contrast to the paralyzed, dumbfounded Travis. Scorsese gets the quality of trance in a scene like this; the whole movie has a sense of vertigo. Scorsese’s New York is the big city of the thrillers he feasted his imagination on—but at a later stage of decay. This New York is a voluptuous enemy. The street vapors become ghostly; Sport the pimp romancing his baby whore leads her in a hypnotic dance; the porno theatres are like mortuaries; the congested traffic is macabre. And this Hell is always in movement.

No other film has ever dramatized urban indifference so powerfully; at first, here, it’s horrifyingly funny, and then just horrifying. When Travis attempts to date Betsy, he’s very seductive; we can see why she’s tantalized. They’re talking across a huge gap, and still they’re connecting (though the wires are all crossed). It’s a zinger of a scene: an educated, socially conscious woman dating a lumpen lost soul who uses one of the oldest pitches in the book—he tells her that he knows she is a lonely person. Travis means it; the gruesome comedy in the scene is how intensely he means it—because his own life is utterly empty. Throughout the movie, Travis talks to people on a different level from the level they take him on. He’s so closed off he’s other-worldly; he engages in so few conversations that slang words like “moonlighting” pass right over him—the spoken language is foreign to him. His responses are sometimes so blocked that he seems wiped out; at other times he’s animal fast. This man is burning in misery, and his inflamed, brimming eyes are the focal point of the compositions. Robert De Niro is in almost every frame: thin-faced, as handsome as Robert Taylor one moment and cagey, ferrety, like Cagney, the next—and not just looking at the people he’s talking to but spying on them. As Travis, De Niro has none of the peasant courtliness of his Vito Corleone in “The Godfather, Part II.” Vito held himself in proudly, in control of his violence; he was a leader. Travis is dangerous in a different, cumulative way. His tense face folds in a yokel’s grin and he looks almost an idiot. Or he sits in his room vacantly watching the bright-eyed young faces on the TV and with his foot he slowly rocks the set back and then over. The exacerbation of his desire for vengeance shows in his numbness, yet part of the horror implicit in this movie is how easily he passes. The anonymity of the city soaks up one more invisible man; he could be legion.

Scorsese handles the cast immaculately. Harvey Keitel’s pimp is slimy, all right, yet his malicious, mischievous eyes and his jumpiness are oddly winning, and Keitel has more resources for building tension than just about any other actor on the screen. Jodie Foster, who was exactly Iris’s age when she played the part, is an unusually physical child actress and seems to have felt out her line readings—her words are convincingly hers. Cybill Shepherd has never been better: you don’t see her trying to act. She may actually be doing her least acting here, yet she doesn’t have that schoolgirl model’s blankness; her face is expressive and womanly. There’s a suggestion that Betsy’s life hasn’t gone according to her expectations—a faint air of defeat. The comedian Albert Brooks brings a note of quibbling, plump pomposity to the role of her political co-worker, and Leonard Harris, formerly the WCBS-TV arts critic, has a professionally earnest manner as Palantine, their candidate. Peter Boyle’s role is small, but he was right to want to be in this film, and he does slobby wonders with his scenes as the gently thick Wizard, adjusted to the filth that Travis is coiled up to fight; Boyle gives the film a special New York-hack ambience, and, as the cabby Doughboy, Harry Northrup has a bland face and Southern drawl that suggest another kind of rootlessness. Scorsese himself is sitting on the sidewalk when Travis first sees Betsy, and then he returns to play a glitteringly morbid role as one of Travis’s fares—a man who wants Travis to share his rancid glee in what the Magnum he intends to shoot his faithless wife with will do to her. As an actor, he sizzles; he has such concentrated energy that this sequence burns a small hole in the screen.

As a director, Scorsese has the occasional arbitrariness and preening of a runaway talent; sometimes a shot calls attention to itself, because it serves no visible purpose. One can pass over a lingering closeup of a street musician, but when Travis is talking to Betsy on a pay phone in an office building and the camera moves away from him to the blank hallway. It’s an Antonioni pirouette. The Bernard Herrmann score is a much bigger problem; the composer finished recording it on December 23rd, the day before he died, and so it’s a double pity that it isn’t better. It’s clear why Scorsese wanted Herrmann: his specialty was expressing psychological disorder through dissonant, wrought-up music. But this movie, with its suppressed sex and suppressed violence, is already pitched so high that it doesn’t need ominous percussion, snake rattles, and rippling scales These musical nudges belong back with the rampaging thrillers that “Taxi Driver” transcends. Scorsese got something out of his asthma: he knows how to make us experience the terror of suffocation.

Some actors are said to be empty vessels who are filled by the roles they play, but that’s not what appears to be happening here with De Niro. He’s gone the other way. He’s used his emptiness—he’s reached down into his own anomie. Only Brando has done this kind of plunging, and De Niro’s performance has something of the undistanced intensity that Brando’s had in “Last Tango.” In its own way, this movie, too, has an erotic aura. There is practically no sex in it, but no sex can be as disturbing as sex. And that’s what it’s about: the absence of sex—bottled-up, impacted energy and emotion, with a blood-splattering release. The fact that we experience Travis’s need for an explosion viscerally, and that the explosion itself has the quality of consummation, makes “Taxi Driver” one of the few truly modern horror films.

Anyone who goes to the movie houses that loners frequent knows that they identify with the perpetrators of crimes, even the most horrible crimes, and that they aren’t satisfied unless there’s a whopping climax. In his essay “The White Negro,” Norman Mailer suggested that when a killer takes his revenge on the institutions that he feels are oppressing him his eruption of violence can have a positive effect on him. The most shocking aspect of “Taxi Driver” is that it takes this very element, which has generally been exploited for popular appeal, and puts it in the center of the viewer’s consciousness. Violence is Travis’s only means of expressing himself. He has not been able to hurdle the barriers to being seen and felt. When he blasts through, it’s his only way of telling the city that he’s there. And, given his ascetic loneliness, it’s the only real orgasm he can have.

The violence in this movie is so threatening precisely because it’s cathartic for Travis. I imagine that some people who are angered by the film will say that it advocates violence as a cure for frustration. But to acknowledge that when a psychopath’s blood boils over he may cool down is not the same as justifying the eruption. This film doesn’t operate on the level of moral judgment of what Travis does. Rather, by drawing us into his vortex it makes us understand the psychic discharge of the quiet boys who go berserk. And it’s a real slap in the face for us when we see Travis at the end looking pacified. He’s got the rage out of his system—for the moment, at least—and he’s back at work, picking up passengers in front of the St. Regis. It’s not that he’s cured but that the city is crazier than he is. ♦

Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991.

Reimagined Film Poster - Taxi Driver - Dimitri Simakis The Current Cinema

February 9, 1976 Issue

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