In the neo-noir film Taxi Driver, directed by Martin Scorsese, the protagonist Travis Bickle is a depressed 26 year old man living alone after being discharged from the Marines. Despite working as a taxi driver, he feels as though his life has no passion and/or no meaning. He’s almost at a point similar to a mid life crisis. He feels this way until he meets Betsy. Betsy, who works as a campaign volunteer, offers something to Travis that he does not have and desperately wants, which is a relationship. Travis wants to share his life with someone who he sees himself in. Travis notices her and cannot get her out of his mind. And although he is an insecure taxi driver, he still finds the courage to talk to her because of how confidently he is able to read her. Travis is motivated by his inner drive to find the right person to fill the empty void he has in his life. In this situation, it is more of an emotional void instead of a sexual void. This can be seen during their date at the movies. Although Travis took Betsy to see a pornographic film, I believe that his intentions were pure. He took her to see that type of movie because that theater is where he feels comfortable. Travis was trying to open himself to Betsy by letting her into his world. Unfortunately for Travis, she reacted negatively to the date. Travis also feels like he can win Betsy over because of how ‘inferior’ her coworker Tom is. Tom’s advances towards Betsy go right over her head and Travis sees that. He even brings it up in their coffee date. Travis is motivated by the idea of a relationship with Betsy.

The film Touch of Evil by Orson Welles comments on the idea of race during a time that racial diversity may have disturbed and bothered viewers who watched the film. Set during the mid 1900s, interracial couples were not a typically seen in society and in fact frowned upon by many individuals during that time. However, Touch of Evil pushed boundaries by starring Janet Leigh and Charleston Heston as a recently married interracial couple Susie and Mike Vargas. The film, both directly and indirectly, touches on race and the idea of an interracial relationship numerous times. This is highlighted at the beginning of the movie as Mike and Susie are about to share their first kiss in the United States, until they are interrupted by the explosion of the car bomb. This is clearly attacking the stigma that interracial couples weren’t allowed or should not have been together, especially in public. Relationships like the one Mike and Susie had would have caused uproar in American society. However, the real racial injustice is the fact that Heston isn’t even a latino actor, he’s white. In fact, Heston’s character Vargas is the only honorable Mexican character in the film while all the other characters, played by real Mexican actors, are low lives and dishonorable. This sends viewers the message that latinos, or all people of color, are unable to be the good guy unless they are played by a white actor. Heston’s Mike Vargas is seen as the clear hero of the film from beginning to end. He does not discriminate, keeps an open mind, and cares about his wife. Even the film itself disappoints on its racial undertones by making Sanchez guilty of the car bombing. Initially, the film made it seem as though he was innocent because of Quinlan’s attempt to frame him. To the viewer, this was because Quinlan is the racist villain. However, by making Sanchez the suspect who actually committed the crime, it attempts to prove that Quinlan’s intuition was true about Mexicans being criminals. Touch of Evil is truly a product of its time. Overall, its commentary on race is very biased against minorities, even when it tries not to.

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Good company in a journey makes the way seem shorter. — Izaak Walton