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The editing of Taxi Driver hits like a clenched jaw under flickering streetlights — tight, tense, and unforgiving. Every cut bleeds masculine solitude, dragging you deeper into Travis Bickle’s spiral with raw, unfiltered precision. It’s not just storytelling — it’s psychological warfare, stitched together with cold, deliberate pacing that mirrors a man too far gone to turn back.

Scorsese and editor Tom Rolf carve time like a blade, letting scenes linger just long enough to itch under your skin, then snapping to the next like a sudden jolt of rage. The rhythm is slow-burn — not lazy, but lethal — building that simmering tension of a man with a thousand-yard stare and nothing to lose. Isolation isn’t just shown — it’s felt, in every awkward pause, every silent cab ride, every mirror-glared moment of self-confrontation.

This is an edit soaked in urban grit and existential testosterone. It's literally me cinema — for every outsider who’s ever stared into the abyss and whispered, “You talkin’ to me?”

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