A TAXI DRIVER

DRAMATIC HISTORY

Film review by Fiore

OVERALL:

Do not confuse this film with the iconic, title similar film with Robert DeNiro.  A TAXI DRIVER is a fascinating tale, based on true events about a down on his luck taxi driver in South Korea, who become entangled in the political revolution the country endured in 1980.

The film is an interesting peak at the times, and the culture and, most importantly, the frame of mind of Asian males, willing to sacrifice all, including family and loved ones, for a noble cause.

A TAXI DRIVER is subtitled, and that poses a problem for enjoying the film.  It is also, as is the penchant for Asian films, entirely too long.  Key elements are repeated needlessly in a stream of sequences conveying identical themes.  This helps augment the film’s melodrama when coupled with over the top, almost cartoonish acting of its stars. 

A bit of cinematic tolerance is required to fully enjoy A TAXI DRIVER.

PLOT:

 

German actor Thomas Kretschman plays Peter, a German journalist determined to discover what is transpiring in the province of Gwangju.  He arrives in Seoul, posing as a missionary to enter the area and film the dissention.  Song Kang-Ho plays Kim Man Seob, a taxi driver who sees an easy payday taking the missionary to Gwangju.  Kim is trying his best to be a single parent to his daughter, but his overly generous heart causes him to provide rides to many who cannot pay.  In debt, but still wanting the best for his daughter, Seob thinks the one day trip is akin to winning the lottery, considering what the foreigner is willing to pay.

Once they arrive in Gwangju, Kim discovers Peter’s real reason for going to the embattled area.  Although his instincts tell him to run and return to his daughter, Kim is pulled into the conflict of the oppressed community and discovers the hero inside him.

PARTICULARS:

A TAXI DRIVER is too long.  This is a plight which affects most Asian films.  Key points, or character flaws are accented in numerous clips, driving home a point which was made effectively the first time around.  The film utilizes two editors, Kim Sang-Beom and Kim Jae-Beom.  My contention is always more editors equal less continuity and vision.  That could very well be the case here, and may help explain why so many scenes are repetitious.

 

Director of Photography is Go Rak-Sun.  He incorporates a plethora of shots, but most effectively utilizes overhead aerial scenes for the traveling taxi cab and the riots and protests.   Director Jang Hoon orchestrates a rousing ideological film crescendo, tailor made for Asian thought.  The screenplay, by Eom Yu-Na adds drama to the historical event, capsulating with the taxi cab brigade toward the film’s conclusion.

 REPORT CARD:

ACTING = B

CINEMATOGRAPHY = B

SOUND/MUSIC = C

EDITING = C

LIGHTING = C

SCRIPT = C

SFX = B

ACTION = C

SUMMARY: 

A TAXI DRIVER introduces characters only to set up their deaths.  It’s like the WWII films of the 1940’s.  The dialogue is somewhat stilted; but truthfully, it could be the subtitle translations.  Korean is a language that relies heavily on inflection, and it is difficult to convey that in subtitles.

Our protagonist, Kim, begins as a comedic character, putting a completely different spin on A TAXI DRIVER in its opening reels.  Soon, the seriousness of the situation and the conflict of the people in Gwangju remove the light-hearted tone.  A TAXI DRIVER ultimately is a treatise on dictators, and the power of the people to halt them.  It’s an interesting view, especially since Korea is dominating current news headlines. 

REWATCHABLE INDEX: LOW