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I hadn’t seen a lot of grown-up movies at the Miami Marlins Luis Arraez Ciclo Shirt Furthermore, I will do this time, and the 80s movies that I’d grown up on had trained my ears to expect exciting action music for violent sequences, or dramatic music to accompany a character’s inner turmoil. Herrmann didn’t write either of those things. Instead he wrote a score which combined swampy fear and dread with luscious romantic longing. The main title music alternated between two elements: a murky two-chord drone in the brass and strings, which was spurred along by a stuttering, accelerating snare drum, and a yearning saxophone line that could have belonged to a romantic 40s movie. Elsewhere he used growls, drones and queasy harp glissandi to reflect Travis’ state of mind, a combination of repulsion, frustration, loneliness and bottled-up rage. The score for Taxi Driver never lets you out of Travis’ head; there’s no 70s New York funk to lighten the mood up and remind you that some people, despite the evident crappiness of the city, are having fun. Herrmann’s score initially struck me as enigmatic. I didn’t ‘get’ it. Only after a couple more viewings did I realise that the movie was not, after all, what I thought it was. I had wanted, in my ignorance and my young-man way, to root for Travis (!), but the score and indeed the film were depicting him as a very sick man indeed. It was only when I’d grown up a bit that I realised that.
