Taxi driver обзор
Обновлено: 04.07.2024
Работа с программой Taxi Driver.Основные понятия.Выход на линию.
Работа с программой проста и удобна.В верхней части экрана показан позывной,статус (не на линии,свободен и так далее),номер очереди,заряд батареи телефона,дата и время.
В центральной части расположены иконки районов с цифрами.Цифра слева означает количество "висящих" заказов,цифра справа-количество свободных машин в данном районе.Аббревиатура районов сокращенная,но понятная.
Когда в районе появляется "висящий" заказ-иконка подсвечивается желтым цветом.
О том,как выйти на линию подробно рассказано в данном видео.
Если у вас возникают какие-нибудь вопросы,проблемы или просто что-то непонятно в работе программы-пишите в комментариях,на самые актуальные вопросы мы обязательно ответим.
И не забывайте ставить лайки если видео оказались вам полезны)
Видео Обзор программы Taxi Driver.Начало работы. канала Такси Life.В свете фар
"Taxi Driver" shouldn't be taken as a New York film; it's not about a city but about the weathers of a man's soul, and out of all New York he selects just those elements that feed and reinforce his obsessions. The man is Travis Bickle, ex-Marine, veteran of Vietnam, composer of dutiful anniversary notes to his parents, taxi driver, killer. The movie rarely strays very far from the personal, highly subjective way in which he sees the city and lets it wound him.
It's a place, first of all, populated with women he cannot have: Unobtainable blondwomen who might find him attractive for a moment, who might join him for a cup of coffee, but who eventually will have to shake their heads and sigh, "Oh, Travis!" because they find him . well, he's going crazy, but the word they use is "strange."
And then, even more cruelly, the city seems filled with men who can have these women -- men ranging from cloddish political hacks to street-corner pimps who, nevertheless, have in common the mysterious ability to approach a woman without getting everything wrong.
Travis could in theory look for fares anywhere in the city, but he's constantly drawn back to 42nd Street, to Times Square and the whores, street freaks, and porno houses. It's here that an ugly kind of sex comes closest to the surface -- the sex of buying, selling, and using people. Travis isn't into that, he hates it, but Times Square feeds his anger. His sexual frustration is channeled into a hatred for the creeps he obsessively observes. He tries to break the cycle -- or maybe he just sets himself up to fail again.
He sees a beautiful blonde working in the storefront office of a presidential candidate. She goes out with him a couple of times, but the second time he takes her to a hard-core film and she walks out in disgust and won't have any more to do with him. All the same, he calls her for another date, and it's here that we get close to the heart of the movie. The director, Martin Scorsese, gives us a shot of Travis on a pay telephone -- and then, as the girl is turning him down, the camera slowly dollies to the right and looks down a long, empty hallway. Pauline Kael's review called this shot -- which calls attention to itself -- a lapse during which Scorsese was maybe borrowing from Antonioni. Scorsese calls this shot the most important one in the film.
Why? Because, he says, it's as if we can't bear to watch Travis feel the pain of being rejected. This is interesting, because later, when Travis goes on a killing rampage, the camera goes so far as to adopt slow motion so we can see the horror in greater detail.
That Scorsese finds the rejection more painful than the murders is fascinating, because it helps to explain Travis Bickle, and perhaps it goes some way toward explaining one kind of urban violence. Travis has been shut out so systematically, so often, from a piece of the action that eventually he has to hit back somehow.
"Taxi Driver" is a brilliant nightmare and like all nightmares it doesn't tell us half of what we want to know. We're not told where Travis comes from, what his specific problems are, whether his ugly scar came from Vietnam -- because this isn't a case study, but a portrait of some days in his life. There's a moment at a political rally when Travis, in dark glasses, smiles in a strange way that reminds us of those photos of Bremer just before he shot Wallace. The moment tells us nothing, and everything: We don't know the specifics of Travis's complaint, but in a chilling way we know what we need to know of him. The film's a masterpiece of suggestive characterization; Scorsese's style selects details that evoke emotions, and that's the effect he wants. The performances are odd and compelling: He goes for moments from his actors, rather than slowly developed characters. It's as if the required emotions were written in the margins of their scripts: Give me anger, fear, dread.
Robert De Niro, as Travis Bickle, is as good as Brando at suggesting emotions even while veiling them from us (and in many of his close-ups, Scorsese uses almost subliminal slow motion to draw out the revelations). Cybill Shepherd, as the blond goddess, is correctly cast, for once, as a glacier slowly receding toward humanity. And there's Jodie Foster, chillingly cast as a twelve-year-old prostitute whom Travis wants to "save." Harvey Keitel, a veteran of all of Scorsese's films (he was the violent maniac in "Alice Doesn't Live Here Anymore") is the pimp who controls her, and he's got the right kind of toughness that's all bluff.
These people are seen almost in flashes, as if darkness threatens to close over them altogether. "Taxi Driver" is a hell, from the opening shot of a cab emerging from stygian clouds of steam to the climactic killing scene in which the camera finally looks straight down. Scorsese wanted to look away from Travis's rejection; we almost want to look away from his life. But he's there, all right, and he's suffering.
Roger Ebert
Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.
При старте игроку предоставляют стандартный автомобиль такси, с которого и начнется наша карьера.
Автопарк насчитывает четыре автомобиля.
Видеообзор TAXI DRIVER
Заядлый игрок практикующий данное искусство с 2005 года. |
Любимые жанры : РПГ, Стратегии, Приключения |
Любимые игры : Half-Life 2, Gothic, Stronghold, Dishonored, Fallout, Sacred Underworld
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Summary: Scorsese’s 1976 masterpiece is the all-too-real story of a psychotic New York cabby who is driven to violence in an attempt to rescue a teenage prostitute. [Sony]
On my list for one of the best films ever, Taxi Driver is by far Scorsese's best direction ever.
I see why this film is always regarded as a masterpiece. Everything is pretty much perfect. The acting, the direction, the cinematography, the attention to details, etc. Literally the only problem is some of the audio (Idk if it was me but sometimes the audio was edited poorly at times) and I see why this film is always regarded as a masterpiece. Everything is pretty much perfect. The acting, the direction, the cinematography, the attention to details, etc. Literally the only problem is some of the audio (Idk if it was me but sometimes the audio was edited poorly at times) and Travis' sudden change of motivations into wanting so hard to save the girl was a little bit weird and unexpected, but who cares. Everything is so intense and it had me in the edge of my seat the entire time. The buildup to the expected payoff is so amazing and those last 30 minutes will be forever stuck in my head. I highly recommend it and I can't wait to watch it again. … Expand
Taxi Driver will always be one of the greatest films of all time. It is the first movie in history to ever flawlessly show the disintegration of the human mind. It is an expert character study and Scorsese's masterpiece.
,,Taxi Driver'' is one of Martin Scorsese's masterpieces, a must-see of cinematography, elevated, popular and highly appreciated movie. Scorsese presents a thrilling look over mid 70's New York, through the windshield of Travis's cab. The blurred lights, strong contrasts, steaming ,,Taxi Driver'' is one of Martin Scorsese's masterpieces, a must-see of cinematography, elevated, popular and highly appreciated movie. Scorsese presents a thrilling look over mid 70's New York, through the windshield of Travis's cab. The blurred lights, strong contrasts, steaming sewers, wet streets, moving frames creates a powerful image and gives notorious look to this movie. The picture created in ,,Taxi Driver'' become representative and gives a powerful, visual, artistical side to the movie. Travis Bickle is the main character, a taxi driver, veteran of Vietnam War, who takes any taxiing in New York, night or day, with no discrimination (,,It's the same for me''), an outsider to society (,,Loneliness has followed me my whole life'') and life, with no direction to go on, surely affected by the war, a time bomb and a very psychological complex character. ,,Taxi Driver'' is seen through the eyes of taxi driver, Travis, the vision over the city, the insights, the action, all belonging to him. Being psychological complex, Scorsese analyses Travis in broad and comprehensive areas, using the action at which he takes part, dialogues and also monologues of great intensity and moral attitude. De Niro's performance is outstanding, one of the greatest in his career, he gives life to a complex character with an amazing performance. The soundtrack by Bernard Herrmann completes the movie, all the other aspects of it being well-supported by this. The deep contrasts, sleazy sounds, music of saxophone, distressing atmosphere, dreaming state, the resonant power of the main theme elevate this soundtrack to an artistic peak and completes the distressing image of New York in Scorsese's vision. After Travis, the next point as relevance, is the image of New York. Scorsese creates a symbol in representation of New York from multiple points of view, the city is mastery presented through Travis's vision, directing vision and artistic vision (both visual and acoustic). From all the ,,scum'', depraved, vicious social categories to one, complex, lonely, moral character, from a distressing image to the cry of saxophone, from an outstanding direction to art, Scorsese combines all 4 major elements of this movie (the character, the visual, the acoustic, the direction) into an artistic, social and psychological lyric. … Expand
I was stunned by the way Scorsese demonstared the town at night . the movies made at those times were usually about mafia, drug dealers and almost any nonsense matter. but this one was a movie of hope. hope of better future for the town. just take a look at the last moments of movie, it I was stunned by the way Scorsese demonstared the town at night . the movies made at those times were usually about mafia, drug dealers and almost any nonsense matter. but this one was a movie of hope. hope of better future for the town. just take a look at the last moments of movie, it shows the dark sky just the same way as Deniro was seeing it, then the motion of ordinary people emerges. to me , it means the hope of a better future. and this future is made by guys like the cabby. … Expand
Taxi Driver has the best scrip I have ever seen be directed in film.De Niro portrays a taxi driver who's out to clean the dirty streets of New York. It is very well directed , I mean c'mon it was done freaking Scorsese. The supporting actors do an amazing job especially young Jodie Foster Taxi Driver has the best scrip I have ever seen be directed in film.De Niro portrays a taxi driver who's out to clean the dirty streets of New York. It is very well directed , I mean c'mon it was done freaking Scorsese. The supporting actors do an amazing job especially young Jodie Foster who plays a 12-year-old prostitute. … Expand
This review contains spoilers , click expand to view . An unjustifiably celebrated movie. Scorsese directs well enough. The actors are good (especially Jodie Foster and Harvey Keitel). The gritty NY cinematography might have been awesome back in 1976 but nowadays we get a steady dose from Law & Order and other TV shows/movies. But, the plot is insufficient. There is no psychological insight into the protagonist/villain - nothing that tells us who he is and why he is driven to assassinate a presidential candidate. Worse and undeniably devastating to the film, the ending is absurd and morally silly and bankrupt. The protagonist fails to kill the presidential candidate so he runs off and "redeems" himself by rescuing a teenage prostitute and kills her pimp.
For this, our "hero" is now the city's hero and he seems to go on happily living his life. No wonder John Hinckley, jr. got the wrong idea. … Expand
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