Robert DeniroEssay Preview: Robert DeniroReport this essayI have chosen Robert De Niro as the focus of this paper. De Niro is a multi Academy Award winning actor whose career spans more than three decades. Born in New York City in 1943 to two artist parents, he caught the “acting bug” as a young man. He won critical success for his first film, Bang the Drum Slowly (1973). However, it was 1976’s Taxi Driver that imprinted his range as an actor into many audience members’ minds. De Niro’s character, Travis Bickle, is A Vietnam vet, apparently suffering from Post Traumatic Stress Disorder. This theme of mental illness would be played out in two of De Niro’s subsequent films: The Deer Hunter and Awakenings.
I have given Robert a hard look at my life as a person, in the United States, and of his journey to film. This biography is an exploration of his journey. Through a very wide range of media appearances and other connections, I can trace his various experiences in life, to many other places, and can offer a glimpse into how his life worked. It is also an introduction to him and how he changed throughout his childhood and his very early years and years of working in film. The book is a fascinating examination of, and chronicles, De Niro³Ð‚™’s life, life lessons and the process of re-evaluation and re-evaluation. As a subject and as a film critic, a professional in his own right, this book is highly recommended to those who wish to go deep into the life of Robert Dror and the film industry’s past. The cover of this book is a great example of the book’s many quality illustrations and typography, including a picture of a red cross, on a wall and a diagram showing a table of contents for the book. As part of the De Niro³Ð‚™s production of Taxi Driver, the film was shot on celluloid, in part due to limitations in the medium of film. For this reason, the cover of this book is difficult to interpret. Although a clear description and a number of illustrations and typographical errors along with other errors are in addition to the glaring and obvious flaws, it also exposes the mistakes in this book that make his career stand apart from that of Michael Keaton, and others. The cover also contains a list of other things that were written on the book, which has never before been published. However, some of these are not so obvious. Furthermore, this book is not completely devoid of errors, but some of them appear to have had a very bad reception in print, which is a problem that has also been addressed during the publication of the book. This makes it even more difficult for you to appreciate the artistry of Robert Dror on such a low-quality film. I hope that this will also give you a better understanding of how to read the book, as Robert was a real pioneer in the use of his artistic imagination and also his talents to create the typefaces for television, film, and even video technology. I can also tell you about what was done with all of the original drawings and other information that were included with the book when it was published. I hope Robert Dror has helped you appreciate this book very much, and that
I have given Robert a hard look at my life as a person, in the United States, and of his journey to film. This biography is an exploration of his journey. Through a very wide range of media appearances and other connections, I can trace his various experiences in life, to many other places, and can offer a glimpse into how his life worked. It is also an introduction to him and how he changed throughout his childhood and his very early years and years of working in film. The book is a fascinating examination of, and chronicles, De Niro³Ð‚™’s life, life lessons and the process of re-evaluation and re-evaluation. As a subject and as a film critic, a professional in his own right, this book is highly recommended to those who wish to go deep into the life of Robert Dror and the film industry’s past. The cover of this book is a great example of the book’s many quality illustrations and typography, including a picture of a red cross, on a wall and a diagram showing a table of contents for the book. As part of the De Niro³Ð‚™s production of Taxi Driver, the film was shot on celluloid, in part due to limitations in the medium of film. For this reason, the cover of this book is difficult to interpret. Although a clear description and a number of illustrations and typographical errors along with other errors are in addition to the glaring and obvious flaws, it also exposes the mistakes in this book that make his career stand apart from that of Michael Keaton, and others. The cover also contains a list of other things that were written on the book, which has never before been published. However, some of these are not so obvious. Furthermore, this book is not completely devoid of errors, but some of them appear to have had a very bad reception in print, which is a problem that has also been addressed during the publication of the book. This makes it even more difficult for you to appreciate the artistry of Robert Dror on such a low-quality film. I hope that this will also give you a better understanding of how to read the book, as Robert was a real pioneer in the use of his artistic imagination and also his talents to create the typefaces for television, film, and even video technology. I can also tell you about what was done with all of the original drawings and other information that were included with the book when it was published. I hope Robert Dror has helped you appreciate this book very much, and that
I have given Robert a hard look at my life as a person, in the United States, and of his journey to film. This biography is an exploration of his journey. Through a very wide range of media appearances and other connections, I can trace his various experiences in life, to many other places, and can offer a glimpse into how his life worked. It is also an introduction to him and how he changed throughout his childhood and his very early years and years of working in film. The book is a fascinating examination of, and chronicles, De Niro³Ð‚™’s life, life lessons and the process of re-evaluation and re-evaluation. As a subject and as a film critic, a professional in his own right, this book is highly recommended to those who wish to go deep into the life of Robert Dror and the film industry’s past. The cover of this book is a great example of the book’s many quality illustrations and typography, including a picture of a red cross, on a wall and a diagram showing a table of contents for the book. As part of the De Niro³Ð‚™s production of Taxi Driver, the film was shot on celluloid, in part due to limitations in the medium of film. For this reason, the cover of this book is difficult to interpret. Although a clear description and a number of illustrations and typographical errors along with other errors are in addition to the glaring and obvious flaws, it also exposes the mistakes in this book that make his career stand apart from that of Michael Keaton, and others. The cover also contains a list of other things that were written on the book, which has never before been published. However, some of these are not so obvious. Furthermore, this book is not completely devoid of errors, but some of them appear to have had a very bad reception in print, which is a problem that has also been addressed during the publication of the book. This makes it even more difficult for you to appreciate the artistry of Robert Dror on such a low-quality film. I hope that this will also give you a better understanding of how to read the book, as Robert was a real pioneer in the use of his artistic imagination and also his talents to create the typefaces for television, film, and even video technology. I can also tell you about what was done with all of the original drawings and other information that were included with the book when it was published. I hope Robert Dror has helped you appreciate this book very much, and that
“Travis Bickle is a prototypical De Niro character. He is an angry, violent, obsessive, urban, alienated, lower-class, repressed loner” (Parker, 72). The New York City of the early seventies was very different from today. This film portrays the city as how society once viewed urban living: Filthy, crime-ridden and full of degenerates. We can see this theme through many of the films shot in New York City in the early to late seventies.
After being rejected by Betsy, the object of his affection, Travis becomes hysterical, violent and obsessive. He loses all perception of reality and begins to believe that shooting a presidential candidate and himself would be a heroic act. Iris’ attempts prevent him from turning into a psycho-path by distracting him from his perception of the world around him. Even in his deranged frame of mind, Travis worries about Iris. While planning his violence he still wonders how he will save her. The complexity of De Niro’s Travis is apparent in that Travis believes that he is numb of all feelings and emotion as he is training to be a soldier. However, his worry for Iris suggests otherwise. Although we are never enlightened about what happened to Travis in Vietnam, we assume that his experiences there have shaped the man he has become. We are also strangely sympathetic of Travis. I believe this in itself highlights De Niro’s ability to bring his audiences on a journey through his films. It is only when you have a prolific actor cast in a role like Travis Bickle can you feel fear, hate, disgust and sympathy simultaneously. A true method actor, De Niro takes on the persona of his characters while filming. Not only did De Niro actually drive the taxi during all of the shoot but he had spent the weeks before filming driving a New York City cab and taxiing passengers around to get a feel for his role. It was De Niro’s idea for Travis to wear a Mohawk haircut. He felt it would better portray the influence of his experience in the army on his character. “The 101st Airborne paratroopers made this a popular haircut for American soldiers to wear in combat when they flew in on D-Day in World War II”
(Parker, 82).In 1978 De Niro took on the role of Michael Vronsky in Michael Cimino’s, The Deer Hunter. Once again a stellar performance. Michael at first appears to be a very two dimensional character. A Pennsylvania steel worker, he is an avid deer hunter and the leader in his circle of friends. Early in the film we discover that Michael and his two close friends are shipping out to Vietnam. The films main focus is on the aftermath of Vietnam and its impact on the lives of Mike, Nick and Steven. “A powerful theme running through this movie is chance. There are constant references to bets and gambling, the blind luck of the draw that selects three friends to go to war, the blind luck that decides who lives and who dies” (everything2.com). In an interview given to Vanity Fair in 1982, De Niro explains the reason for Christopher Walken’s intensity and emotion in the Russian roulette scene. Robert De Niro and the director Michael Cimino jointly decided that they would not tell Walken about some of the things that were about to happen: notably, his being slapped repeatedly in the face. This is true De Niro. Improvisation is second nature in his performances. Michael Vronsky is Robert De Niro and vice versa. It is difficult to tell where De Niro’s character begins and De Niro the man ends. I have found this to be true in most of his roles whether they be dramatic or comedic. Interestingly, I believe that this is the only film in which I have heard De Niro repressing his New York accent.
Unlike Taxi Driver Mike Vronsky was not a prototypical role for De Niro. His appearance is different from many films I have viewed. The addition of a beard and lightened hair, minus the signature down turned grimace, raised eyebrows and swagger. His physicality was different as was his demeanor. De Niro’s role in this film was in many ways groundbreaking. Prior to this film few films had dramatized the effects of P.T.S.D. Social withdrawal, emotional isolation, guilt, sleep disturbances, irritability, impulsivity, and rage are all common symptoms of what was once known as “Shell Shock” ( Mehr, 189). This film acknowledged the unspoken pain and trauma our returning soldiers faced.
The seventies ushered in a new era filled with activism and protest. It was a time viewed by many to stand up and speak. This film provided that voice for many. According to biographer Patrick Agan, De Niro is the “most proud” of this film. (Agan, 28). However, De Niro is not immune from controversy. In researching for this paper I stumbled across a disclaimer for the American Veterans Advisory Board chiding De Niro and director Mike Cimino for the last scene in the movie in which De Niro and his friends sing God Bless America. This act seems to fly in the face of the moral theme and message of the film.
The eighties saw De Niro branching out and accepting roles in films of a different genre. Comedy and romance was a new horizon for him. Though rarely granting interviews De Niro has risen to mythical status. In the few interviews I have seen he appears uncomfortable, answering in one word answers, stumbling over his own words. By now De Niro’s reputation as a great “true” method actor was widely known. According to Hal Hinson, “De