Author: thehorsesheadblog

#447) The Immigrant (1917)

OR “Charles in Charge”

Directed by Charles Chaplin

Written by Chaplin, Vincent Bryan, and Maverick Terrell

Class of 1998

The Plot: An unnamed immigrant who looks a lot like the Tramp (Charles Chaplin) travels to America by boat. On the voyage over, he meets a beautiful woman (Edna Purviance) and attempts to win money for her and her mother from the ship’s gamblers. Some time later, the Tramp, alone and broke in America, happens to reunite with the woman at a restaurant, where he tries to hide his lack of money from their imposing waiter (Eric Campbell). There’s plenty of comedy, and a little pathos in Chaplin’s earliest NFR entry.

Why It Matters: The NFR gives a brief rundown, highlighting the film’s take on “the uniquely American immigrant experience”. As always, Chaplin expert Jeffrey Vance is on hand with an essay.

But Does It Really?: This is definitely what I call a “Stepping Stone” NFR movie: an early film from a prominent director that, while it pales in comparison to their later work, helped set the foundation for them to achieve said later work. While “The Immigrant” possesses Chaplin’s trademark blend of comedy and pathos, neither is at the level we know Chaplin is capable of. A pass for “The Immigrant”; an important stepping stone, if not essential Chaplin.

Everybody Gets One: While appearing in the Broadway musical “Pom-Pom”, Eric Campbell was approached by Chaplin to join his stock company of actors at Mutual. As in “The Immigrant”, Campbell often played the heavy, his large frame towering a full foot over Chaplin’s Tramp. Chaplin intended to take Campbell with him once he left Mutual, but Campbell suddenly died of a heart attack shortly after Chaplin signed with First National.

Wow, That’s Dated: Mainly the idea that America is welcoming to immigrants. We as a nation have definitely dropped the ball on that one.

Other notes

• Chaplin developed his Tramp persona during his time at Keystone Studios (the Tramp’s first appearance was in a Mabel Normand vehicle). After Mack Sennett refused to give him a raise, Chaplin jumped ship to Essanay Film, where he honed his directing skills and became a nationwide success. In 1916, Chaplin’s Essanay contract expired, and while several studios made him offers, he ultimately went with the Mutual Film Corporation, who gave him his own studio and an annual salary of $670,000 (almost $16 million today).
• As he would do with his later features, Chaplin improvised the plot of “The Immigrant” as he went along. The second half in the restaurant was filmed first, with Chaplin realizing later that he needed a backstory for how the Tramp and Purviance’s character ended up penniless. Chaplin based the first half of the film on his own experience immigrating to America.
• To achieve the effect of a ship at sea, Chaplin had the boat sets placed on rockers, and had a special camera mounted on a pendulum. The result is one of the film’s few bits that show the promise of Chaplin’s future career.
• As with many of Chaplin’s shorts, the leading lady is his real-life partner Edna Purviance. Their relationship dissolved shortly after “The Immigrant”, but she continued to work his Chaplin, even playing the mother in “The Kid”.
• Practically every man in this movie is sporting the “Jerry Colona” style moustache.
• I laughed out loud at the Tramp maintaining his gunpoint on his fellow passenger, even while turning around to pick something up.
• If you didn’t know Campbell was a stage actor, his makeup job is your first clue. Those eyebrows are playing to the back of the house.
• The sequence of the Tramp trying to pick a coin off the floor is another germ of a great Chaplin bit.
• I was fine with this movie until the ending. The Tramp forces the woman to get married? That’s not a happy ending at all! She doesn’t even have a name!

Legacy

• Of his early shorts, Chaplin always cited “The Immigrant” as his favorite. He also considered his time at Mutual the happiest of his career.
• “The Immigrant” was the 11^th of Chaplin’s 12 shorts for Mutual. Following “The Adventurer”, Chaplin left Mutual to form his own production company, with the leap to features not too far away.
• “The Immigrant” is one of many films whose production is touched upon in Richard Attenborough’s “Chaplin”.

• Unfortunately the most lasting impact “The Immigrant” had was on the downfall of Chaplin’s American career. During the Red Scare of the early ’50, the powers at HUAC were looking for any evidence to single out Chaplin’s supposed un-American behavior, and a scene from “The Immigrant” of the Tramp kicking an immigration officer was all it took. In 1952, Chaplin was denied re-entry in the United States, and while he could have fought it, Chaplin instead vowed never to return to “that unhappy country”, a promise he kept for 20 years.

#446) Harold and Maude (1971)

OR “My Old Lady”

Directed by Hal Ashby

Written by Colin Higgins

Class of 1997

The Plot: Harold Chasen (Bud Cort) feels isolated living in a large manor with his superficial mother (Vivian Pickles), and has developed a morbid outlook on life, staging suicide fake-outs and attending funerals. At one funeral he meets Maude Chardin (Ruth Gordon), a free-spirited woman pushing 80. Despite the vast age difference, Harold and Maude connect with each other, and spend time together every day. Through his time with Maude, Harold learns how to truly live and love, all with an incessant Cat Stevens soundtrack.

Why It Matters: The NFR cites the film’s “warm humor and big heart that lies beneath the darkness” and traces the film’s cult following.

But Does It Really?: “Harold and Maude” can be a bit divisive, but thankfully I was charmed by it, thanks to the work of Cort and Gordon, who find a convincing balance between the film’s dark comedy and lighter sweetness. Time has been kind to “Harold and Maude”, aided by the onslaught of quirky indie rom-coms inspired by it. “Harold and Maude” isn’t an untouchable classic, but it is an influential movie with a devoted cult following, and that’s good enough for a place in the Registry.

Everybody Gets One: Colin Higgins became interested in making movies after seeing a film exhibit at Montreal’s Expo ’67. His master thesis at UCLA would serve as the inspiration for “Harold and Maude”. Higgins wanted to direct “Harold” once it was optioned by Paramount, and shot a “screen test” to get the job, but Paramount opted for Hal Ashby, fresh off his directorial debut “The Landlord”. Ashby hired Higgins as a co-producer so that Higgins could be on set and learn how to direct.

Wow, That’s Dated: “Songs composed and performed by Cat Stevens”. Other than that, be alert for references to the sexual revolution, wife-swapping, and then-President Nixon.

Seriously, Oscars?: “Harold and Maude” wasn’t successful with critics or audiences (with a few exceptions, see “Legacy”), and was completely ignored by the Oscars. Cort and Gordon did, however, manage Golden Globe nominations for their work, losing respectively to Topol for “Fiddler on the Roof” and Twiggy for “The Boy Friend”.

Other notes

• Bay Area residents like myself should enjoy spotting all the local spots used for filming “Harold and Maude”. Look out for San Francisco’s Sutro Baths, Colma’s Holy Cross Cemetery, San Bruno’s Golden Gate National Cemetery, and the Santa Cruz Beach Boardwalk.
• Bud Cort somehow looks both 12 and 40 years old at the same time. For the record, he was 22 during production.
• Shoutout to Vivian Pickles as Harold’s appropriately distant mother. A veteran of English cinema, this was Vivian’s only American-based film.
• In yet another case of Hollywood casting a younger woman, 73-year-old Ruth Gordon played 79-year-old Maude. Very disappointing. That being said, it’s fun watching Ruth Gordon’s natural feistiness being put to use for something other than helping sire the spawn of Satan.
• Technically there’s a 51-year difference on the Michael Douglas scale, but there’s definitely a double standard at play.

• Cat Stevens’ soundtrack will forever be associated with this movie, but for me, “Tea for the Tillerman” belongs to “Extras”.
• This film may include the first instance of computer dating. Even back then it was the worst.

• The chase between Harold & Maude and the motorcycle cop is certainly one of filmdom’s most unique car chases. Fun Fact: The cop is played by Tom Skerritt, credited as “M. Borman”, a riff on ex-Nazi Martin Bormann.

• Extra Fun Fact: Ruth Gordon couldn’t drive in real life.
• “L-I-V-E, Live!” Maude is a walking Facebook post.

• Unsurprisingly, this film is well edited. Ashby got his start as the editor for such films as “In the Heat of the Night” and “The Thomas Crown Affair”. This film’s editing team was William A. Sawyer and Edward Warschilka, Ashby’s associates from “The Landlord”.
• My favorite shot in the movie is Harold’s reaction to the question, “What’s hari-kari?” Bud Cort takes a comic pause that would make Jack Benny proud.

• Director Hal Ashby makes a cameo as the long-haired bearded fellow mesmerized by the train set on the boardwalk.
• Cort and Gordon are lovely together, but the implication of their last night together is more than enough. Any more visuals and I would have sided with the priest on this one.

• And Ashby leaves us with an ambiguous ending that still leaves them guessing 50 years later. I say it’s no different than having your lead walking on water.

Legacy

• “Harold and Maude” turned most people off on its initial release (Vincent Canby called it “creepy and off-putting”), but it was a surprise hit in Detroit and Minneapolis, playing for several years and developing a cult following. Screenings continued throughout the ‘70s, and by 1983 the film had turned a profit.
• Post-“Harold”, director Hal Ashby helmed a string of successful ‘70s character studies including “Shampoo”, “Bound for Glory”, “Coming Home”, and future NFR entry “Being There”.

• Colin Higgins spent the ‘70s and early ‘80s as a successful screenwriter, and eventually director. His filmography includes “9 to 5”, “Silver Streak”, “Foul Play”, and “The Best Little Whorehouse in Texas”.

• Higgins had plans for a sequel called “Harold’s Story” (which would have ruined this movie’s ambiguous ending), as well as a prequel in which Maude teams up with Grover Muldoon, Richard Pryor’s character from “Silver Streak”. What could have been if the Higgins Cinematic Universe had gotten the green light.
• A 1973 stage adaptation by Jean-Claude Carrière became an unexpected hit in Paris for ‘30s film star Madeleine Renaud, who later toured the U.S. as Maude. An American adaptation starring Janet Gaynor opened and closed on Broadway in February 1980 after four performances.
• Among the filmmakers influenced by “Harold and Maude”: Wes Anderson, Cameron Crowe, and Judd Apatow, who named his daughter after Maude.
• As for Harold and Maude themselves; Ruth Gordon spent her remaining years playing variations of Maude on film and TV; and while a car accident in 1979 threatened to derail Bud Cort’s career, he has continued to work steadily. He even had his own courtroom show around 2006!

Listen to This: There’s no Cat Stevens/Yusuf Islam on the National Recording Registry? That seems like an obvious oversight.

#445) Road to Morocco (1942)

OR “Bad Harem Day”

Directed by David Butler

Written by Frank Butler and Don Hartman (with assists from Bob and Bing’s writers)

Class of 1996

The Plot: After a freighter explodes out at sea, the ship’s stowaways Jeff & Orville (Bing Crosby & Bob Hope) wash ashore on the generic Middle Eastern set piece Paramount calls Morocco. In an attempt to get money, Jeff sells Orville to a mysterious buyer, who turns out to be the beautiful Princess Shalmar (Dorothy Lamour). Orville becomes engaged to the Princess, but her jilted betrothed Sheik Kasim (Anthony Quinn) has other plans. And that’s about it plot wise; the rest is Hope & Crosby’s trademark banter, a couple of songs, and lots of low-key racism.

Why It Matters: The NFR gives a brief rundown with no superlatives, but there is a much more appreciative essay by Bob Hope expert Richard Zoglin.

But Does It Really?: I wanted to like “Road to Morocco”, and while Hope and Crosby’s natural chemistry led to some laugh-out-loud moments, ultimately the film’s massive appropriation of Middle Eastern culture spoils any modern viewing. The “Road” movies were popular enough and have a long enough legacy to warrant NFR inclusion, but at this point the film is being held up on its reputation.

Shout Outs: Quick asides from Bob Hope referencing both “Wuthering Heights” and “Uncle Tom’s Cabin”.

Everybody Gets One: Director David Butler’s career spanned 40 years, helming two Shirley Temple vehicles (“Bright Eyes” and “The Little Colonel”) as well as previous solo vehicles for Bob Hope and Bing Crosby. Despite their past experience, “…Morocco” was Butler’s only “Road” movie. This is also the only NFR appearance for Dorothy Lamour, who, despite her European heritage and New Orleans upbringing, was often cast as the exotic “Sarong Queen” character, a typecast her work in the “Road” movies is spoofing.

Wow, That’s Dated: Where to begin? First of all, my apologies to the country of Morocco, its citizens, people of Moroccan descent, and anyone who has ever been to Morocco. This movie is 90% brownface and white washing. Massive cultural appropriations aside, the movie references such ‘40s culture as the movie “Here Comes Mr. Jordan”, the radio series “Hobby Lobby” (not the chain), organized crime syndicate Murder, Inc., and a “Ball of Fire” level of ‘40s slang.

Title Track: We have a title song! Like the rest of this movie “(We’re Off on the) Road to Morocco” is fun, but bogged down by its datedness.

Seriously, Oscars?: “…Morocco” was one of the biggest hits of 1942 (and the most successful of the “Road” movies). The film received two Oscar nominations and lost both to other NFR fare: Best Sound Recording to “Yankee Doodle Dandy” and Best Original Screenplay to “Woman of the Year”.  Neither the title number nor “Moonlight Becomes You” were up for Best Song.

Other notes

• “Morocco” was the third of Bob & Bing’s “Road” movies, following 1940’s “…Singapore” and 1941’s “…Zanzibar”. Dorothy Lamour always played the woman the boys fought over, hence her shoutout in this movie before she has appeared on screen.
• The previous two Road pictures were based on pre-existing stories, “Morocco” being the first tailored specifically to Bob Hope and Bing Crosby. Much of their dialogue was punched up on set by the writers of their respective radio programs. Despite the pair’s breezy repartee, none of the “Road” movies were improvised.

• My first LOL moment: “When they’re dead, they’re dead.” “Not Aunt Lucy; she’s a Republican.”
• And then the movie officially loses me. In an attempt to get free food in the Moroccan marketplace, Crosby suggests that Hope pretend to be “an idiot”, complete with stereotypical developmental disability and speech. I am still speechless at this level of insensitivity. There are still some enjoyable moments in this movie, but it never fully won me back. On the plus side, if Hope mocked the developmentally disabled today, he could be our president.
• Dorothy Lamour is about as Moroccan as Morocco Mole from “Secret Squirrel”. Meanwhile, Warner Bros. is making “Casablanca” across town…
• This movie confirms my suspicion that both Bob Hope and Bing Crosby work best in short spurts (“Going My Way” being the exception). The two of them together are fun, but this movie runs out of momentum sooner than it should.
• As always, I’m surprised when a classic song was written for a specific scene in a specific movie, in this case “Moonlight Becomes You”.

• Tonight on “What Nationality Are They Making Anthony Quinn Play This Week?”: Mexican-born Quinn is playing an Arab sheik, and it won’t be the last time.
• As previously stated, this was the third “Road” movie, which explains why there are so many jokes about all of this happening again. The one thing that doesn’t come across is the boys’ “patty-cake” routine, in which they would play patty-cake to distract the bad guy and then sucker punch them. “Morocco” changes up the bit, which doesn’t play if you’ve only seen this movie.

• Best fourth-wall break in the film: Crosby, upon learning that some moviegoers showed up late to their movie: “You mean they missed my song?”
• Things get real weird at the end. A wishing ring turns Hope into a monkey, there’s a lot of slapstick in the finale, and to top it all off; talking camels. This movie’s trying too hard to win me back.

Legacy

• “Morocco” was a hit, and while both Bob Hope and Bing Crosby saw their stars continue to rise, there wouldn’t be another Road movie until 1946. “…Utopia” was followed by “…Rio”, and eventually “…Bali” and “…Hong Kong”. An attempt to revive the series in the ‘70s (the aptly named “Road to the Fountain of Youth”) was cancelled following Crosby’s death in 1977.

• “Moonlight Becomes You” has become a Great American Songbook standard, but it’s Bing’s recording that is still the best known.

• Many later comedies have attempted to emulate the laid-back fun of the Road movies. Sometimes you’d get “Spies Like Us”, and sometimes “Ishtar”.

• “Family Guy” has done several “Road” episodes centering around Brian and Stewie. The first one even has a parody of the “Road to Morocco” song. As of 2016 the show has done more “Road” episodes than there were “Road” movies.

#444) Blacksmith Scene (1893)

OR “Forging a New Medium”

Directed by W.K.L. Dickson

Class of 1995

The Plot: A blacksmith (Charles Kayser) and his two assistants (John Ott & Unknown Actor) strike a metal rod on an anvil with their hammers. The three pause for a sip of beer, and then resume their work. The film is brief and uneventful, but don’t stop reading; it’s on this list for a good reason.

Why It Matters: The NFR gives a rundown of the film’s historical significance: as far as we know, “Blacksmith Scene” was the first film to be shown publically, and was the first film in which the action was staged for the camera, rather than simply occurring in front of it. The write-up also quotes a Brooklyn newspaper that reported the film would “excite wonderment”.

But Does It Really?: Edison’s early experiment films always seem inconsequential on their own, but the aforementioned historical significance of “Blacksmith Scene” is enough to secure its place in the Registry. Dickson was one of the first to recognize that film could be used to record planned action, rather than sheer reportage. Without this seemingly simple idea, the movies wouldn’t exist. Not a bad legacy for a 30 second film.

Everybody Gets One: All three of the actors in this film were employees of Thomas Edison’s at the time, and this is the only surviving film appearance for any of them. Fun Fact: John Ott’s younger brother Fred also worked for Edison, and is immortalized in “Edison Kinetoscopic Record of a Sneeze”.

Wow, That’s Dated: Blacksmiths mainly. Sure they’re still around, but blacksmithing as a profession is not as prominent as it was during the Industrial Age.

Other notes

• At the time of its induction, “Blacksmith Scene” was the oldest film on the National Film Registry. Today it is second only to 1891’s “Newark Athlete”.
• Well, it’s been 10 seconds; time for a break. I’m glad Edison et al felt the need to document these guys loafing around. And for crying out loud, don’t all drink from the same beer bottle! That’s how germs spread!
• If these guys are actors, then who supplied the blacksmith supplies? What, no “Special Thanks” section in the end credits? Or end credits at all?
• “Blacksmith Scene” premiered at the Brooklyn Institute of Arts and Sciences (now the Brooklyn Museum) on May 9^th, 1893; mere weeks after it was filmed. Attendees lined up to view the film on Edison’s Kinetoscope one at a time. “Blacksmith” was the first half of history’s first double feature, with a second short film about horseshoeing now lost to the ages.

Legacy

We can go ahead and give “Blacksmith Scene” credit for motion pictures as we know them today, because why the hell not?

#443) Taxi Driver (1976)

OR “Mr. Scorsese’s Wild Ride”

Directed by Martin Scorsese

Written by Paul Schrader

Class of 1994

The Plot: Travis Bickle (Robert De Niro) takes a job as a New York City taxi driver to combat his chronic insomnia. His increasing isolation causes him to become unhinged, leading to violent thoughts and stalking political campaign organizer Betsy (Cybill Shepherd). After an encounter with child prostitute Iris (Jodie Foster) and her pimp Sport (Harvey Keitel), Bickle starts purchasing firearms, planning to become the metaphorical rain that will “wash all this scum off the streets”. If you dare to follow Bickle as his mental health deteriorates, be sure to make clear that you are, in fact, talking to him.

Why It Matters: The NFR write-up mostly assumes you know why the film is a classic, giving a brief synopsis and a rundown of the major creatives. They do, however, state that Schrader’s screenplay creates “one of American cinema’s most European in artistic style.”

But Does It Really?: My name is Tony and I’ve never seen “Taxi Driver”. With that out of the way, man alive does this movie live up to the hype. The subject matter is dark and unsettling (and unfortunately still relevant), but Scorsese masterfully draws you into this underworld, to the point that you feel unsafe just by watching this movie. The entire cast is great, with De Niro giving a performance worthy of its continued praise and parodies. Scorsese et al elevate “Taxi Driver” to an unforgettable film experience, but we’ll see if a movie about a white gunman continues to be one of filmdom’s untouchables.

Shout Outs: Paul Schrader has cited “The Searchers” as a major influence on his screenplay. As for references within in the film, Travis wears a King Kong patch on his jacket, and a “Nashville” poster briefly appears in the background.

Wow, That’s Dated: First off, taxi drivers (“Uber Driver” doesn’t pack the same punch). Secondly, this film is a thorough encapsulation of the hellhole that was 1970s New York, aided by the real-life garbage strike during production. Also of note: porno houses, a nod to Kris Kristofferson, and un-inflated cab fares ($1.35!? That’s highway robbery!)

Seriously, Oscars?: A critical and commercial hit, “Taxi Driver” received four Oscar nominations, but was the only Best Picture nominee that year to go home empty-handed. Bernard Herrmann’s posthumous score lost to “The Omen”, De Niro and Foster lost their acting bids to the cast of “Network”, and the film lost Best Picture to “Rocky”. Neither Scorsese nor Schrader were nominated, a trend of Oscar abuse that would continue for both men for decades to come.

Other notes

• It’s a bit concerning, but Paul Schrader has called “Taxi Driver” autobiographical. In the early ‘70s, Schrader was unemployed, divorced, and depressed. Like Travis Bickle, he developed insomnia, visited porno theaters, and started researching guns. In the midst of all this, Schrader theorized that he could be a taxi driver, and inspiration struck. To better understand his protagonist, Schrader studied the diaries of Arthur Bremer, the man who attempted to assassinate Governor George Wallace.
• Robert De Niro man. Robert Fucking De Niro. This is the performance that solidified De Niro as his generation’s best actor. He so fully inhabits Travis Bickle, forcing you not only to witness his deep disturbing attributes, but also to recognize how similar you may be to this guy. If forced to choose, this is the single best De Niro performance.

• One of my notes simply reads “Could Not Be Made Today”. The film is brilliant, but the days of sympathizing with a white male loner are over.
• Cybill Shepherd is quite good as one of Scorsese’s first angelic blondes. I’m more familiar with Shepherd’s later work (like her sitcom), but she is equally good joking around with Albert Brooks as she is reluctantly engaging with Travis Bickle.

• The camera is constantly moving in this film; gliding over scenes that would normally be covered in static close-ups. I think it’s to symbolize Travis as a modern-day angel, but mostly it’s distracting. Other than that, great movie.
• The brilliance of the movie’s structure is that the danger element creeps in incrementally. By the time you figure out just how dangerous Travis is, you’re already past the point of no return.
• After actor George Memmoli was injured during another film shoot, Martin Scorsese cast himself as “Passenger Watching Silhouette” in one of filmdom’s creepiest director cameos. Even when acting, Scorsese keeps directing De Niro (“You see that light up there? The window?…Are you blind? Do you see the light? Yeah, yeah you see it. Good.”)

• Peter Boyle is so underrated as an actor. He’s best remembered for his comedies (“Young Frankenstein” and “Everybody Loves Raymond”), but the man was also capable of impressive, naturalistic performances, such as his work here as fellow cabbie The Wizard.

• Respect must be paid to legendary composer Bernard Herrmann, who died the day after the final recording session for “Taxi Driver”. Side note: Shoutout to Ronnie Lang for the film’s saxophone solos.
• All accounts agree that De Niro improvised “you talkin’ to me?” on the day. It’s another iconic movie quote that still works in its original context, despite the repeated homages.

• Travis’ showdown at the liquor store is our first glimpse at the film’s unrestrained violence. It’s a disturbing moment, which makes me wonder just how intense this all was for an audience in 1976.

• Even at 12 years old, Jodie Foster was the most intelligent adult in the room. Any actor who can pull off this movie and “Freaky Friday” in the same year has my lifelong respect. To ensure that she would not be traumatized from playing a child prostitute, Foster underwent psychological counseling, and had all of the violent effects explained to her in detail so nothing surprised her. Foster’s older sister Connie also served as a body double for her more evocative scenes.

• Like a car accident on the side of the road, the film’s violent finale is gruesome, yet simultaneously compelling. And if the color seems a little off, you’re not imaging things: Scorsese brightened the film’s last reel to make the blood look less realistic and avoid receiving an X rating.

• Everyone has their own take on the last scene. Mine? Real life doesn’t always reward the good and punish the bad, or even successfully differentiate the two. Travis’ “heroics” will be forgotten, and I suspect his life will continue unchanged by the events of the film.

Legacy

• “Taxi Driver” has one of the most unfortunate cultural impacts of any film. In the early ‘80s, 26-year-old John Hinckley Jr. became obsessed with the movie and formed an unhealthy fixation on Jodie Foster, to the point of stalking her while she attended Yale. To prove his love for her, Hinckley shot President Ronald Reagan, mimicking Bickle’s assassination attempt in the movie. Reagan survived, and although Hinckley was declared not guilty by reason of insanity, he ended up serving 35 years in a psychiatric hospital. The team behind “Taxi Driver” rarely, if ever, comments on this situation.
• On a lighter note, “Taxi Driver” was the film that launched Scorsese into the roster of A-list directors. His follow-up film, 1977’s “New York, New York”, was less successful, but he bounced back with “Raging Bull”.

• Paul Schrader continues writing and directing films, and received his first Oscar nomination for 2017’s “First Reformed”. Other career highlights include the screenplay for “Raging Bull”, and this iconic George C. Scott turn in “Hardcore”.

• De Niro and Scorsese planned on making a sequel to “Taxi Driver” in the mid-2000s. The film was scrapped, as was an experimental remake in the 2010s, which Paul Schrader publicly called “a terrible idea”.
• But of course, this film’s main takeaway is “You talkin’ to me?” Everyone, EVERYONE, has spoofed this to death. But its official demise came in 2000, when De Niro himself repeated the phrase while playing Fearless Leader in “The Adventures of Rocky and Bullwinkle”.

Listen to This: Only tangentially related to the film, sound designer Tony Schwartz made the National Recording Registry in 2003 with his 1959 album “The New York Taxi Driver”, comprised of actual recordings with real drivers. Thankfully, none of them possess any parallels to Travis Bickle.