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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 Ôem
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 cafŽ 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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