The camera movement of Taxi Driver is all about apprehension. We are made to feel as if we are walking on eggshells with Scorsese's choice of movements. The camera is a voyeur in a twisted little world, hiding things we want to see while staring into the abyss, refusing to look away.
A scene mentioned in an earlier blog was what Scorsese considers to be the turning point of the film, and the movement of the camera is the exclamation point on this scene. When Travis is on the phone being dropped by Betsy the camera tracks right to show a long empty hallway, but we still hear Travis's agonizing rejection; This makes the scene all the more uncomfortable.
The scene in which Travis purchases his weapons has a shot that displays the enormity of a situation through a simple right pan. As Travis waves his hand over the collection of guns, the camera follows his hand, as if he is ordaining these firearms to be his tools of justice.
The shot of Travis when we first see him with a mo hawk was built to surprise. The camera at dog's eye as it tracks right past a line of people until we get to Travis. The camera stops and pans right and tilts upward revealing only his torso as shakes a few pills from a bottle. When he brings his hand to his mouth, the camera cranes up to reveal Travis's new hairstyle. This shot breeds great anticipation with a startle at its conclusion.
Every scene in Taxi Driver is wonderfully constructed, leaving the audience satisfied while still wanting more.
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