'You talkin' to me?' (Taxi Driver)

In Martin Scorsese’s Taxi Driver (1976), Robert De Niro is Travis Bickle (“You talkin’ to me?”), a disturbed cabbie who plans to shoot presidential candidate Charles Palantine before chance intervenes to steer him away from irrevocable catastrophe. The film serves as an instance not just of life imitating art but of art prefiguring life. In a strange twist, John Hinckley Jr., who shot Ronald Reagan in 1981 after seeing the film and developing an obsession with Jodie Foster, tweeted after the Donald Trump shooting, “violence is not the way to go”.
The parallels, however, don’t end there. Trump’s rambling speeches, to which he returned after resuming his campaign, are reminiscent of Bickle’s own paranoid mutterings while Kamala Harris’s rhetoric sounds every bit like the empty suit Palantine; in fact, her last slogan “Kamala Harris For the People” recalls the equally inane “Palantine — We Are the People.” Real-world politics seemed yet again to be taking its cues from the Taxi Driver script.
Scorsese’s gritty urban epic was born of a decade (comparable to our own) associated with moral decline, traumatic random violence and paralysing elite failure. The anti-hero Bickle, like many then and now, struggled to give meaning to events and circumstances beyond his control. Today, fear and foreboding once again stalk the land. Is there anything Americans can do to avoid being overwhelmed by the senseless and inexplicable character of historical events?
The Seventies may hold clues. Its preceding decade was one of social revolutions, many of which either failed or fell short (not unlike the 2010s); and so, it is remembered as the post-Sixties’ “hangover”. Yet as historian Thomas Borstelmann argued, it was in these years that the changes initiated in the Sixties became mainstream: the shift from industrial liberalism to free markets; the breakdown of traditional authority and the loosening of social mores; the fracturing of modernity into relativism and hyper-individualism. Indeed, the same bleak environment that inspired Taxi Driver, the near-bankrupt New York City of the Seventies, also gave rise to one of 2024’s candidates. Donald Trump was then offering himself as the saviour who could stem the decay, ultimately personifying the bare-knuckle capitalism that prevailed in the next decade.
It was, therefore, a time when old narratives were dying but new ones had yet to take their place: the problem wasn’t so much that terrible things kept occurring on Americans’ television screens, but those watching lacked the ability to integrate them into shared frameworks of meaning. The succeeding narratives, after all, needed time to emerge organically. In hindsight, it is easy to interpret the era’s chaos: gas lines, rising crime, military defeat, and assassination attempts as the trajectory of a society in the midst of a painful but necessary crisis and transition stage while on the way back to renewal. Much harder to do the same when one is living through it, but finding narrative threads to connect events to their potential historical significance may nonetheless prove to be a worthwhile, even necessary, exercise.
Looking at the recent spate of turmoil, one may be tempted, like Bickle, to react with bottomless dread at what seems like a world breaking apart. Or one can, also like Bickle, by the end of the film, find ways of grappling with a grossly imperfect and contingent reality — but with an eye to arriving at larger sources of meaning and moral legitimacy — that is, to do more than just “cope”. It sounds abstract, but it has been done before and can be done again; after all, the malaise of the Seventies didn’t last forever and eventually gave way to “Morning in America” and the optimism of the Nineties. The question is what can fill the present narrative void?
Take the two-week period between the 13 July attempt on Trump’s life and the unification of the Democrats around Harris by 27 July, which will have to go down as one of the most consequential in US politics. Yet much of what happened was largely the product of chance. A lone assassin managed to mount a rifle across from a former president and the target turned his head at just the right time to avoid a headshot. A week later, a frail Joe Biden stepped aside and instantly endorsed his vice president as successor, who had been chosen due to political considerations from the last election year, when fallout from a contingent event, George Floyd’s death, led to “a woman of colour” being in demand. (The distasteful “DEI candidate” accusation should not detract from the connection, freely admitted to by progressives, between the atmosphere of 2020 and Biden’s selection process.)
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