Symbols
Foreshadowing
Travis Bickle's journey from a disillusioned taxi driver to a violent vigilante is marked by several instances of foreshadowing. His mental instability, which is hinted at through his inability to sleep, heavy drinking, and pill consumption, sets the stage for his eventual descent into violence. The transformation is further foreshadowed by his military background, particularly the mohawk haircut he adopted before his planned assassination attempt, which recalls the combat readiness of American soldiers in World War II. This aspect of his character development suggests that Travis's experiences in Vietnam have primed him for violence, making his explosive actions less surprising in the narrative context. Early in the film, Travis's interactions with Senator Palantine and his campaign hint at his growing obsession with violence and his desire to make a significant impact. His attempt to assassinate Palantine is the culmination of this obsession, reflecting his distorted belief in taking drastic action to effect change. Additionally, the scene where Travis kicks over a TV showing a romantic scene not only foreshadows his violent outburst but also symbolizes his rejection of conventional relationships and societal norms. Moreover, the film's use of music and visual elements contributes to the foreshadowing. Bernard Herrmann's score, described as both "sleazy and beautiful," mirrors Travis's complex psyche and foreshadows his violent outburst through its ominous tones.
The Taxi Cab
The taxi cab serves as a potent symbol of Travis Bickle's isolation and detachment from society. As a taxi driver, Travis occupies a liminal space between the bustling streets of New York City and the insulated confines of his vehicle. The cab becomes a barrier between Travis and the outside world, allowing him to observe without truly participating in the chaos unfolding around him. Travis' aimless and directionless existence is reflected in his role as a taxi driver, constantly being told where to go by the passengers who enter his cab. Despite traversing the city's labyrinthine streets night after night, Travis remains adrift in a sea of loneliness and alienation, his only companions being the disembodied voices of his fare-paying passengers. The car also serves as a metaphor for Travis' fractured psyche, its interior mirroring the disarray of his own mind. As he grapples with his inner demons and struggles to find his place in the world, the cab becomes both a sanctuary and a prison, a symbol of his inability to connect with the world outside.
Guns
Guns serve as potent symbols of Travis Bickle's descent into madness and violence. Travis' fascination with firearms reflects his simmering rage and deep-seated feelings of inadequacy as he seeks to assert control over a world that seems increasingly chaotic and hostile. His purchase of guns and subsequent practice of shooting them signify his growing obsession with violence as a means of exerting power and asserting his perceived superiority over others. The encounter with the black man in the diner, who bids him farewell with the mocking gesture of a cocked gun while calling him "killer," further underscores the symbolic significance of guns in the film. In a more literal sense, Travis Bickle constantly "guns" his taxi around the streets of New York, and he also finally gets "triggered" when his unchecked anger against the corruption and depravity of the city spirals out of control.
