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1
A COMPARISON OF FATAL ATTRACTIONS AND TAXI DRIVER
<Student Name>
<Course Number: Course Name>
6/5/2023
2
Hollywood Blockbusters vs. New Hollywood Films
The eras of Hollywood depicted in "Fatal Attraction" and "Taxi Driver" could not be
more different. A Hollywood blockbuster is like Fatal Attraction, but a film like Taxi Driver
would be considered part of the New Hollywood genre. The divergences between these two
movies indicate greater shifts in Hollywood's cultural, political, and aesthetic ideals over time. In
1987, Adrian Lyne's Fatal Attraction hit theatres. Michael Douglas and Glenn Close feature in
this story of adultery and obsession. The movie is frequently used as an example of a successful
Hollywood production. Conversely, Martin Scorsese's Taxi Driver came out in 1976
1
. It features
Robert De Niro as a cab driver who goes wild and becomes aggressive. Although Taxi Driver did
not do well at the box office, it is now considered a New Hollywood masterpiece.
It's easy to spot the dissimilarities between Fatal Attraction and Taxi Driver, what with
their dissimilar topics, narrative structures, visual styles, and cultural contexts. First, like many
1980s Hollywood films, Fatal Attraction addresses issues of adultery and infatuation
2
. In this
film, a man who cheats on his wife with a beautiful woman finds himself being stalked and
tortured by her. The film's plot is uncomplicated, with a clear protagonist and antagonist. The
character played by Michael Douglas is a likeable family man who messes up, while the one
played by Glenn Close is a dangerous lunatic. Taxi Driver, on the other hand, is more typical of
the New Hollywood era, focusing on themes of solitude and violence. As the film progresses, a
Vietnam War veteran takes a job as a cab driver in New York City and gradually loses faith in
humanity. The film's narrative structure is more intricate, and the protagonist is multifaceted in
that she is likeable yet severely damaged.
1
Arnett, Robert, and Robert Arnett. "Hollywood Renaissance Noir, 1969–1979."
Neo-Noir as Post-Classical
Hollywood Cinema
(2020): 45-65.
2
Arnett, Robert, and Robert Arnett. "Hollywood Renaissance Noir, 1969–1979."
Neo-Noir as Post-Classical
Hollywood Cinema
(2020): 45-65.
3
The visual aesthetics of these two flicks are also distinct from one another. Like most
Hollywood blockbusters, Fatal Attraction looks shiny and professionally done. Lighting, camera
placement, and editing choices contribute to the film's intended feeling of spectacle and thrill.
The opening credits accompany a pulsating electronic tune and fast-cut, zooming pictures of
New York City. The film's climactic scene, which takes place in a drenched house, is shot
similarly, focusing on close-ups and slow motion to heighten the tension. Taxi Driver, on the
other hand, has that New Hollywood raw and gritty look. A sense of immediacy and authenticity
is sought through handheld cameras, organic lighting, and unconventional editing techniques
throughout the film. For instance, the film's opening scene involves a long, slow pan over a
steaming, trash-strewn New York City street. The film's gory scenes are shot in the same frantic,
disorganized fashion to convey the protagonist's state of mind at the time.
Both films take place in quite different cultural settings. The Reagan era, during which
Fatal Attraction was launched, fostered a feeling of security and optimism in American culture.
The film's focus on adultery and fixation reflects contemporary concerns about evolving gender
roles and cultural mores
3
. The male protagonist, for instance, struggles with conflicting feelings
of duty to his family and his wife and the need to satisfy his sexual appetite. By contrast, the
film's female protagonist is portrayed as a dangerous and unstable menace to the nuclear family.
Alternatively, the publication of Taxi Driver coincided with a time of social unrest and political
despair. The movie's main character, Travis Bickle, is a veteran of the Vietnam War who
struggles to fit in with contemporary society. The violence and isolation portrayed in the movie
are typical of the difficult social and political climate of the 1970s as a whole
4
. Travis' murderous
3
Backus, Heleana René. "Hollywood in the Western and the Western in Hollywood: Frontier Fabrications
and Mass-cultural Masculinity Crises in West, King, and Tarantino." PhD diss., Whitman College, 2022.
4
Horn, Chris. "The Lost Decade: The Fortunes and Films of the'Hollywood Renaissance Auteur'in the
1980s." PhD diss., University of Leicester, 2020.
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4
rampage in the movie's climactic climax could be interpreted as a metaphor for society's
breakdown and the end of the American dream.
When considered in the context of the entire industry, the developments in Hollywood
that produced Fatal Attraction and Taxi Driver can be understood. The era of the blockbuster
began in the 1980s when studios started investing more in films with broad appeal. These films
typically have predictable stories, distinct good characters and bad men, a focus on action, and
jaw-dropping special effects. The commercial success of Fatal Attraction fits within this pattern;
viewers were lured in by the film's eye-catching images and captivating story. The film's
promotion as a popular thriller helped it bring in more than $320 million at international box
offices.
On the other hand, Taxi Driver was created throughout the 1960s and 1970s in New
Hollywood. The studio system was supplanted by more introspective and director-driven movies
that exemplified this aesthetic. These movies' more sombre tones and challenging subject matter
reflected the time's social and political turmoil. The Graduate, Easy Rider, and Bonnie and Clyde
are just a handful of the films that gave a new generation of directors the courage to stray from
Hollywood norms. One of them was Martin Scorsese, who directed the film Taxi Driver despite
having already made a name for himself in Hollywood as films like Mean Streets cemented a
famous actor Taxi Driver's status, and Alice Doesn't Live Here Anymore. The movie's
commercial and critical success enhanced the prestige of the New Hollywood school and
allowed other filmmakers to take on more difficult and complex issues.
Conversely, the New Hollywood movement emerged in the 1960s and 1970s in response
to evolving social and political mores. The movement stood apart by eschewing traditional
Hollywood storytelling methods in favor of a focus on truth and innovation. This pattern may be
5
seen in films like Taxi Driver, which features an ethically dubious protagonist and a harsh,
realistic style. The shifts in Fatal Attraction and Taxi Driver reflect larger cultural and political
shifts in the United States between the 1970s and the 1980s. In the 1970s, problems, including
the Vietnam War, civil rights, and the women's movement, were at the forefront of the public's
mind. When Ronald Reagan became an officer in the 1980s and revived traditional values and
patriotism, conservatives pushed back against these shifts
5
. Both Fatal Attraction and Taxi Driver
reflect their respective eras' prevailing political and cultural attitudes, with the former exhibiting
a more mainstream, conservative mindset and the latter a more countercultural, subversive one.
The distinctions between Fatal Attraction and Taxi Driver can be understood from the
perspective of Hollywood's shifting commercial methods and societal and political shifts, as
mentioned earlier. Changes in cinema financing and marketing helped fuel the emergence of the
blockbuster in the 1980s. Films like "Star Wars" and "Indiana Jones" became global franchises,
and studios started relying more on merchandising and tie-in goods to generate revenue
6
. The
success of Fatal Attraction fits within this pattern, as the picture made considerable sums of
money through its marketing and merchandising in addition to its box office take. In contrast, the
New Hollywood movement blossomed while Hollywood struggled financially and saw its
audience size shrink. Studios were ready to back riskier, more out-there movies to reach a
younger demographic. Movies like "Easy Rider" and "Bonnie and Clyde" proved there was an
audience for "arthouse" or "alternative" movies
7
. Independent directors like Scorsese saw their
5
Arnett, Robert, and Robert Arnett. "Hollywood Renaissance Noir, 1969–1979."
Neo-Noir as Post-Classical
Hollywood Cinema
(2020): 45-65.
6
Horn, Chris. "The Lost Decade: The Fortunes and Films of the'Hollywood Renaissance Auteur'in the
1980s." PhD diss., University of Leicester, 2020.
7
Backus, Heleana René. "Hollywood in the Western and the Western in Hollywood: Frontier Fabrications
and Mass-cultural Masculinity Crises in West, King, and Tarantino." PhD diss., Whitman College, 2022.
6
possibilities diminish in the 1980s as companies merged and put more emphasis on blockbuster
films.
In conclusion, the divergences between Fatal Attraction and Taxi Driver mirror larger
cultural, political, and aesthetic transformations throughout Hollywood's history. While Taxi
Driver exemplifies the more experimental, countercultural approach of New Hollywood, Fatal
Attraction is a prime example of the glossy, formulaic style of 1980s Hollywood blockbusters.
Films vary in subjects, narrative structures, visual styles, and cultural settings; the changing
business practices of the cinema industry influence these variations. By comparing and
contrasting these two movies, we can learn more about Hollywood's development over time and
how the industry has adapted to the shifting cultural and social climate in the United States.
Bibliographies
Arnett, Robert, and Robert Arnett. "Hollywood Renaissance Noir, 1969–1979."
Neo-Noir as
Post-Classical Hollywood Cinema
(2020): 45-65.
Backus, Heleana René. "Hollywood in the Western and the Western in Hollywood: Frontier
Fabrications and Mass-cultural Masculinity Crises in West, King, and Tarantino." PhD
diss., Whitman College, 2022.
Your preview ends here
Eager to read complete document? Join bartleby learn and gain access to the full version
- Access to all documents
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7
Horn, Chris. "The Lost Decade: The Fortunes and Films of the'Hollywood Renaissance Auteur'in
the 1980s." PhD diss., University of Leicester, 2020.