Movie Review: "Taxi Driver"

by Bill Anderson


24 December 2004

"Here is someone who stood up..."

No White man who has to live in this integrated public housing project of a country has not been overcome with feelings of rage and helplessness at one time or another. Most of us bite back on our anger and continue to try to live life the best way we know how but, damn, sometimes you just want to grab the biggest guns you can find and start painting our enemies red, don't you? The movie "Taxi Driver" is about a man who can take no more and does exactly that. And what an amazing vision it is.

Garnering four academy award nominations in 1976, "Taxi Driver" powerfully depicts the ugliness of an Amerikwan society overrun by criminal mud people and jews, symbolized by the kosher capital of the world, Jew York City, and one White man's stand against it. Directed by Martin Scorsese and starring Robert De Niro, Jodie Foster and Cybill Shepherd, "Taxi Driver" pulls no punches in depicting the sleazy, filth-ridden reality of a world created by jews, for jews.

Long before Louis Beam was formulating his ideas of Leaderless Resistance, screenwriter Paul Schrader had created the character of Travis Bickle (Robert De Niro), a "lone wolf" White cab driver at war with a world he hates. From the moment you see De Niro as Bickle, he becomes the character, at times hopeful, then filled with rage and despair, and in total command of the screen.

Bickle is a Vietnam veteran back home, but he cannot find peace. Plagued by chronic insomnia, he takes a job driving a taxi to fill the empty hours. But his job brings him into constant contact with the muds and cruds of the city.

The waves of pimps, whores, dealers and muggers, all blacks or jews, he is forced to deal with fill him with despair and hatred, and he writes in his diary that he hopes one day a "real rain" will come and wash all the scum off the streets. As time passes, he realizes that he is that rain, and prepares to wage his own war on a sick society. He buys guns and gets in shape, but the catalyst to his violence comes when he meets a child prostitute named Iris Steensma (Jodie Foster), enslaved by jew pimps, and bursts into action to save her life.

In sharp contrast to the movies cranked out today by Hymiewood, there is not one single "positive" black character in "Taxi Driver." Not one all-knowing physician, wise mammy or gifted young black writer, just a steady parade of criminal, savage, out-of-control wild bull niggers. In other words, they are portrayed as they are in life. That, in itself, is amazing, but from the first moments when a cacophony of Spanglish is heard through the wall of Bickle's apartment while he pours his hatred into a diary, one can tell this is no ordinary film.

I'm sure there were some jews involved with this film, but are there any movies they're not involved with in some way? Paul Schrader has described himself as Protestant in an interview, and Scorsese is an Italian-American Catholic, so at least the brains behind the movie aren't kosher. There is not one semitically-correct thing in this movie. You can feel the White man's creative genius throughout the film and, I'll tell you, folks, they just don't make em like this anymore.

God's Lonely Man

Travis' rage is focused on Jew York City. He hates it. It is a vile repugnant place to him because it is the realization of the corrupt Zionist dream, populated by jews, blacks and White sell-outs to the jewish order. As a White man, he is an alien in this place, and his senses rebel against it. The city is literally poison to Travis' body. It gives him terrible headaches. But the damage it wreaks on his soul is worse.

Like most young White men he doesn't know why the world has come to be like this, he just senses something is very wrong. Bickle refers to himself as "God's Lonely Man," shut off from the people around him, unable to adjust to the world. He feels himself to be an outsider because he is. He's a basically decent man living in a jewish-spawned world of depravity and exploitation. In many ways he is an innocent, a lonely sensitive soul, but too naïve to realize taking a date to a porno movie is a bad idea.

Campaign Promises

Travis becomes entranced by the seeming purity of Betsy (Cybill Shepherd), a blonde campaign worker for presidential candidate Charles Palantine (Leonard Harris), when she cuts through the "filthy mass" of the city like an angel. He works up the courage to ask her out. Betsy works with an annoying, obnoxious jew named Tom (Albert Brooks). Tom is one of those jews you always see behind the throne of a White politician, feeding him lines, keeping him "on message" and making sure he doesn't leave the Zionist reservation. But it seems Tom does as much hitting on Betsy as he does working for Palantine. Like so many White women, Betsy is taken in by Tom's oily "charm" and flirts back, but she knows nothing is there, as she later tells Travis. Travis, for his part, spots the jew phony instantly, telling Betsy that he doesn't like Tom and that he is "silly." Betsy is drawn to Travis and they agree to go on a date. But, boy, oh, boy, does Travis blow it here.

He takes Betsy to a porno for their first date, and it goes about as well as expected. She walks out. It's difficult to imagine what Travis was thinking here. Perhaps he wanted to introduce Betsy to his world. Travis spends a lot of time in porno theaters. Or maybe, as incredible as it seems, it may be that Travis didn't realize what effect it would have to take a clean-cut girl like Betsy to a porno. As he says to her, earnestly, "A lot of couples go here." After this incident she refuses to see him again, and he is filled with bitterness.

Travis' reaction to pornography is very revealing. In the first part of the movie he's a regular theatergoer. He is drawn to porn, perhaps because he feels the need to understand the images on the screen, while at the same time he is unable to connect with them. The facial expression he wears while sitting in the theater is interesting. It is of a man watching a scientific experiment, something intriguing and disgusting at the same time, like the dissection of a cadaver. He cannot look away, yet one imagines that he would like to. He is mesmerized. Contrast this reaction to the black couple in the front row, who grin and giggle, nyuk, nyuk, nyuk.

The porn industry is, of course, a jewish creation from top to bottom, whose main goal has always been to disrupt normal White family life and development, and I'm sad to say it's working. Watching Hymie's fantasies and whacking off is just easier than trying to find a mate in today's fragmented, feminized times. I've seen a lot of young White men obsessed with pornography and masturbation, even letting it supplant healthy heterosexual relationships. It seems that this is Travis' problem, too. He wants to have a normal love life, but is unable to connect with the opposite sex in a lasting way and, as he finds out, porn is hell on relationships. But porn never walks out, unlike real women, so Travis makes do. The jew smiles.

But Travis' attitude changes as time passes. He becomes more militant and alienated through the course of the film, and the last time Travis goes to the theater he hunkers down in his seat and makes his fist into a gun, pointing it at the screen, until finally he uses his hand to cover his eyes and blot out the images. He has thrown off the spell the jews' porn had him under, and we never see him in the theater again.

The Pussy and the .44

Travis cruises the night streets of the city in his cab, and one night he picks up a bearded man who directs him to an apartment building and tells him to stop. This is Martin Scorsese in a not-to-be-missed cameo performance. He draws Travis' attention to a woman's silhouette in an upstairs window. "That's my wife," he says. "But that's not my apartment. A nigger lives there." In this scene, Scorsese perfectly captures the raw despair and heartbreak of a man whose life has been destroyed by race mixing. He tells Travis he plans to kill his mudshark wife with a .44 Magnum pistol. Travis remains silent throughout the entire scene. The man goes his own way, never knowing how similar his feelings are to Travis'.

But what could Travis and the cuckolded man have accomplished if Travis had opened up to him? It's been the curse of the racist to carry his frustration and pain alone, for fear of losing his job or public ridicule, but these men, with nothing to lose but their misery, could have acted. One "Taxi Driver" is a lone wolf, ten are a movement. It's fated that Travis will strike back at the system alone, and we will see no more of the cuckolded husband. It's likely that he went for a divorce lawyer rather than a .44 Magnum, and that's a shame. He can fantasize about a murderous revenge, but it's not really in his nature to act on it. He's been so confused by a lifetime of jewish brainwashing poison that he thinks his perfectly natural reaction to his wife's betrayal and bestiality makes him "pretty sick." He is locked in a prison of fear and shame, without even the courage to walk into the building and confront his treasonous wife and her nigger. Such is the state of the White man.

Travis says nothing during the encounter, but this man's pain does register on him, and he stares daggers at the niggers outside a caf later that night. And buys a .44 Magnum.

Sweet Iris

After buying several handguns, including the Magnum, from a traveling gun dealer, Travis prepares for the next step: He's decided to kill Charles Palantine. He's tired of sitting back and taking what life dishes out. He wants to act, no doubt driven partly by revenge for Betsy's rejection of him. But things don't go quite the way Travis expected. One night a frightened child prostitute named Iris (Foster) jumps into his cab and asks him to "just go." But her pimp Matthew (jew Harvey Keitel) quickly yanks her out of the cab, oblivious to her cries. The jew throws a crumpled $20 bill on the seat and tells Travis to forget what he's seen. Later that night as Travis is putting up the cab, he notices the $20 still lying on the seat. He pockets the dirty money, payment Iris earned for some act of mechanical fulfillment. Travis will have several opportunities to spend this blood money in coming days, but he won't do it. Travis has reached a turning point. The note tossed into his cab got through to him like all the blood and cum never did.

Sometime after this Travis again encounters Iris. He accidentally almost runs her over with his cab while she's walking the streets with a fellow hooker. Remembering their earlier encounter, he follows her for a while until she and her friend go off with some johns. Angry, Travis screeches off. From that moment, he is determined to rescue Iris from the streets.

The Scum of the Earth

Originally, young Iris' pimp, Matthew, was supposed to be black, but instead the role went to jew Harvey Keitel. Paul Schrader says this decision was made deliberately to avoid exacerbating racial tensions in the 1970s. In other words, Big Jew didn't want to portray some villainous coon, object of the audience's hatred, pimping out a 12-year-old White girl. So they got a "whitish" actor, instead, in jew Keitel to fool the masses.

Well, that might have played in the '70s, but now it's 2004, and we White boys have VNN and the Internet to "out" jews like Keitel. The jew is White no more. It's no doubt true that if "Taxi Driver" were made today the jews would find a Ryan Gosling or Owen Wilson to play Matthew.

Contrary to today's stereotype of pimping as a black thing, jews have a long history in this sordid field. Many figures involved in organized crime were jews, but perhaps none were more notorious White slavers than the Guzik brothers. Jake Guzik, a Russian jew, ran with the Capone gang, and his thrill was scamming farm girls to come to Chicago for a promising "career." When the girls arrived, Guzik and his brother raped them, turned them into junkies and then sold them to his fellow jew pimps in the Levee district. Even today, the "Russian" (actually, jewish) mafia is still engaged in White slavery, kidnapping young Slavic girls and forcing them into a life of prostitution in Israel.

Keitel is perfectly cast as the smarmy, loathsome Matthew, but there is another jew, this one so fat and greasy he looks like he just stepped out of a Third Reich recruiting film on the evil of jews. Played by Barry Moster, a part-time jeweler in real life (!), he stands in front of Iris' room to hustle her johns one more time for use of the room. Hey, White man, did you ever get the feeling that wherever you go there's a jew trying to take your money? Travis stares into the hallway pimp's pockmarked face and hands him the $20 from his first encounter with Iris in the taxicab. How many White children have been destroyed by monsters like this? Satan doesn't have horns and a tail; he has a paunch and a cheap suit and stands in the hallway. And contributes to the ADL. "This is yours," Travis says. "Spend it right."

Iris, despite her circumstances, is a symbol of innocence to Travis, and he decides he cannot let this pre-teen girl continue to be exploited by her pimps. He has to save Iris and punish those who have enslaved her. And what a punishment. In a scene that shocked '70s audiences and critics, Travis paints the walls red in a one-man rampage of Aryan justice that no one who sees it will ever forget.

Radical Changes

Travis kills two jew pimps and a crooked cop and rescues a 12-year-old girl from a life of living death. For this he is hailed as a hero. But only a few hours before he was a hair's breadth away from killing system politician Charles Palantine. If he had killed Palantine, the same public who lionized him would have reviled him. But who was the greater evil, Palantine or Matthew?

Matthew was a despicable pimp, but it's the corrupt shabbas goys, the front man flunkies for the jew program, who inflict the most grievous damage to the White polity. Men like Charles Palantine, with their suits and ties, "mandatory welfare programs," and empty talk about "we the people" are the real problem. The actions of every nigger street animal couldn't hope to equal the harm White Americans would suffer under our halfwit president's Mexican't amnesty scheme.

The movie alludes to this. For all his pompous speeches and fancy rhetoric, it's made clear that Palantine only offers more of the same. Palantine doesn't even see the problem. Travis and Palantine only speak during one scene, but when Travis explodes that he'd like to see the president clean up the city, "flush it down the fucking toilet," Palantine is at a loss for words. Momentarily stunned, he falls back on pat campaign rhetoric to mollify Travis ("We'll have to make some radical changes."). "Damn straight," says Travis, reading into Palantine's comment his own thoughts. But how is it that Palantine can see the same filth and depravity Travis sees and be unmoved? He is shocked by Travis' rage. He doesn't understand it.

Charles Palantine is a system politician, just more of the same. During the movie we don't hear of a single policy change or initiative he would implement as president. Things would continue under a President Palantine just as they have under every other system president, with jew Fat Katz getting fatter and White men like Travis Bickle being ignored and discarded. It's men like Charles Palantine, front men who exist to serve the interests of Big Jew, who are the greatest evil. Cockroach "little jews" like Matthew and his pal are less harmful, though, oh boy, is it satisfying to see them squashed.

"Taxi Driver" has often been described as a case study of a disturbed man who drifts into psychosis. I'm sure that would be the impression jewish critics and reviewers would have us take away from the film. It isn't that simple, though. Jews would always have us believe that anybody who opposes them is "insane." It used to be a favorite jew trick in the old Soviet Union to imprison dissidents in mental hospitals. Some Whites might even conclude that Travis is insane. But, I ask you this, who is crazier: those who accommodate the sickness and depravity of the judenkultur or the man who refuses to accept social decay and the destruction of innocence?

Travis takes up arms against the exploiters of children while the rest of the city either does nothing or takes part, including those sworn to protect the innocent like the crooked cop whose only thought for Iris Steensma after taking a payoff from her jew pimp is getting her on her knees. And let's not forget that right now jew pimps in Israel are running the same game with White girls, subsidized by your tax dollars, White man, that Travis refuses to play here.

Who is insane here? I think I know what men like Nathan Bedford Forrest, William Wallace and Andrew Jackson would say. Travis Bickle fights back against the evil the rest of us see every day and do nothing about, and for that he may be the sanest man of all.

BILL ANDERSON

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