It’s interesting how some films manage to accomplish so much with their opening sequences. The seven shot opening titles of Taxi Driver (Martin Scorsese, 1976) beautifully manages to establish the dark mood. Two of those shots are close ups of De Niro’s eyes, while other five show distorted images of a hazy and obscured Manhattan through the windshield of his taxi. We instantly know whatever we’re going to see in the film to follow is through Nero’s eyes. The distorted imagery reflects the deranged mind observing it. Continue reading
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सौरभ राय | Sourav Roy 