jeśli twoje dziecko najbardziej na świecie kocha filmy, a ty najbardziej na świecie kochasz swoje dziecko, to kup mu cinema speculation - w świątyni, rozdział 03:

But that’s not how a hot potato screenplay like Taxi Driver gets produced by a major Hollywood studio. The truth is if you revere Martin Scorsese’s Taxi Driver (like I do), then you have Michael Winner’s Death Wish to thank for its existence.
The Charles Bronson New York vigilante drama Death Wish opened in July 1974. The narrator of its trailer bombastically proclaimed, “This is a story of a man who decided to clean up the most violent city in the world!”
By 1975, one year after Death Wish and one year before Taxi Driver, violent revenge dramas would begin to flood the cinemas of the world. William Margold, first-string film critic for the sex rag the Hollywood Press, dubbed the genre (amusingly) “Revengeamatics.”
Like Bronson would go after New York muggers over the death of his wife and rape of his daughter in Death Wish, George Kennedy would go after European Baader-Meinhof inspired terrorists over the death of his family in The “Human” Factor.
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In that theatre, with that audience, on a double bill with that other movie, Taxi Driver played like a Death Wish rip-off.
Yeah, the lead guy was more fakked up than the guy in Death Wish, but the guy in Death Wish was pretty fakked up. And in both movies—when the lead guy goes up against the bad guys armed to the teeth—you’re rooting for him.