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Paul Schrader was in meltdown in 1972. Drinking heavily, living in
his car, he was hospitalised with a gastric ulcer. There he read
about Arthur Bremer's attempt to assassinate Alabama Governor
George Wallace: the story was the germ of his screenplay for Taxi
Driver (1976). Executives at Columbia hated the script, but when
Martin Scorsese and Robert De Niro, who were flying high after the
triumphs of Mean Streets (1973) and The Godfather Part II (1974),
signed up, Taxi Driver became too good a package to refuse.
Scorsese transformed the script into what is now considered one of
the two or three definitive films of the 1970s. De Niro is
mesmerising as Travis Bickle - pent-up, bigoted, steadily slipping
into psychosis, the personification of American masculinity
post-Vietnam. Cybill Shepherd and Jodie Foster give fine support
and Scorsese brought in Bernard Herrmann, the greatest of film
composers, to write what turned out to be his last score.
Crucially, Scorsese rooted Taxi Driver in its New York locations,
tuning the film's violence into the hard reality of the city.
Technically thrilling though it is, Taxi Driver is profoundly
disturbing - finding, as Amy Taubin shows, racism, misogyny and gun
fetishism at the heart of American culture. In her foreword to this
special edition, published to celebrate the 20th anniversary of the
BFI Film Classics series, Amy Taubin considers Taxi Driver anew in
the context of contemporary politics of race and masculinity in the
US, and draws on an exclusive interview with Robert De Niro about
his memories of making the film.
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William Eggleston - For Now (Hardcover)
William Eggleston; Text written by Lloyd Fonvielle, Kristine McKenna, Amy Taubin; Afterword by Michael Almereyda
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R1,976
R1,697
Discovery Miles 16 970
Save R279 (14%)
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Ships in 12 - 17 working days
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For Now is the result of film-maker Michael Almereyda's year-long
rummage through the Eggleston archives, a remarkable collection of
heretofore unseen images spanning four decades of work by one of
our seminal artists. Unusual in its concentration on family and
friends, the book highlights an air of offhand intimacy, typical of
Eggleston and typically surprising. Afterword by Michael Almereyda,
with additional texts by Lloyd Fonvielle, Greil Marcus, Kristine
McKenna and Amy Taubin.
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