protagonist of martin scorcese's film taxi driver (1976), played by robert de niro. a New York City cab driver and social misfit who spends as much time as possible working because it provides the only structure and purpose he can find in life. Not only does it keep him moving, it also provides the only real human interaction he can muster.

His social life consists of watching soap operas and American Bandstand in his tiny apartment, or going out and watching porno movies in sleazy theaters. In these small scenes, we are given a glimpse into Travis' enormous pain - he can watch, but he cannot take part. When he is finally able to land a date with an attractive volunteer for a political candidate - she mistakes his inept approach as eccentric charm - he promptly blows it by taking her to a porn movie. She ends the date immediately and is unresponsive to his pleas for another chance. In what Scorsese has called the movie's most painful scene, we see Travis on a pay phone several days later pleading with her for one more opportunity, but he is rejected, and during the conversation, the camera pans to an empty corridor so that we can no longer even see Travis; No one really sees Travis.

Travis - rejected, alienated, powerless - channels his rage into a plan to assassinate the political candidate and, in a subplot, 'rescue' a young prostitute from her pimp before the movie inevitably wends its way toward terrible violence.

In the end it can be said that Travis is just a pathetic, lonely and angry young man who turns to violence as a means of making a difference, of being recognized, of mattering at all, like patrick bateman.a picture of travis bickle was printed on the sleeve of you love us (heavenly).the choruses of cardiff afterlife were modelled on the horns and harp crescendos in 'Taxi Driver'.