Author: chimesfreedom

Editor-in-chief, New York.

Taxi Driver Music: “The Pilgrim, Chapter 33”

Martin Scorsese made deliberate choices in the music for “Taxi Driver,” including Kris Kristofferson’s “The Pilgrim, Chapter 33.”

Taxi Driver Music In a recent post, we discussed the link between Van Morrison’s Astral Weeks and the movie Taxi Driver (1976). In this post, we consider a musical connection between the movie and another song: Kris Kristofferson’s “The Pilgrim, Chapter 33.”

In Taxi Driver, perhaps the one moment a viewer might think that there is a slight bit of hope for Travis Bickle (Robert DeNiro) is when he first courts Betsy (Cybill Shepherd). After he charms her into going to a diner for a bite to eat, she quotes a song: “He’s a prophet, he’s a pusher… partly truth and partly fiction… a walking contradiction.” Bickle focuses on the “pusher part,” saying he has never been a pusher, but she explains she brought it up for the “walking contradiction” part. Bickle is amused, and a later scene shows him at a record store, apparently buying the album, which he later gives to her on their next date.  And then he ruins the date by taking her to see a pornographic film.

Although we do not hear the song or the name of the song in those scenes, the quote is from Kris Kristofferson’s song “The Pilgrim, Chapter 33,” which was off of his second album, The Silver Tongued Devil and I (1971). The album’s biggest hit was “Loving Her Was Easier (Than Anything I’ll Ever Do Again),” and the album also included Kristofferson’s version of “Jody and the Kid.”

“The Pilgrim, Chapter 33,” which was not a hit for Kristofferson, has held up well through the years. A number of artists have covered the song, including Emmylou Harris, Willie Nelson, and Jerry Lee Lewis (with Kristofferson).

When a tribute CD was put together for Kristofferson, they took the song for the title of the CD, The Pilgrim: A Celebration Of Kris Kristofferson. On that album, in the introduction to the title track, Kristofferson explains that he wrote that song “for a good friend of mine, Donny Fritts [Kristofferson’s long-time keyboard player], and Dennis Hopper and Johnny Cash. . .” and then he goes on to list a number of people ranging from Ramblin’ Jack Elliott to Mickey Newbury to “maybe me and I guess my father.” As Kristofferson has aged and seeped into musical legend as one of our classic country elders, the song seems to be more and more about him.

It is a beautiful song, and while like Astral Weeks it is not completely in sync with the story of Travis Bickle, you can see where Martin Scorsese got a little inspiration from the song. Like “Madame George,” the song “The Pilgrim, Chapter 33” also contains some of the themes of isolation and loneliness that Martin Scorsese tried to capture in Taxi Driver.

Kris Kristofferson Silver Tonged Devil He has tasted good and evil in your bedrooms and your bars,
And he’s traded in tomorrow for today;
Runnin’ from his devils, Lord, and reachin’ for the stars,
And losin’ all he’s loved along the way;
But if this world keeps right on turnin’ for the better or the worse,
And all he ever gets is older and around,
From the rockin’ of the cradle to the rollin’ of the hearse,
The goin’ up was worth the comin’ down.

Like many of Kristofferson’s songs, it works as pure poetry. His lyrics in “The Pilgrim, Chapter 33,” describe a man of contradictions, leaving much room for interpretation.

I have never read an explanation for the “Chapter 33” in the title, but I suspect it is a reference to a man being near the end of his life, just as Chapter 33 will fall near the end of a book. Perhaps that is why the song seems to describe so many of the brilliant artists mentioned by Kristofferson in the introduction mentioned above.

May we all be so lucky that the going up is worth the coming down.

In another performance, Kristofferson interprets the song with a more upbeat version of the song with a full band.

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    Elvis Presley Death Roundup

    On today’s date in 1977, the 42-year-old Elvis Presley went into hiding to escape the spotlight and live his life in peace. Well, either that or he died. Below is a roundup of some of the stories on the anniversary of his reported “death.”

    – The Washington Post blog reprints an article from 1956 about the young Elvis.

    Elvis Gold Suit

    – Events at Graceland are covered in several articles. Doug Stephan’s Good Day has a piece about the annual pilgrimage to Graceland. The Los Angeles Times also addresses the journey to Graceland (“Elvis…spurs fresh tears”) and notes some other Elvis anniversaries around the corner. Illustrating Elvis’s international appeal, AlJazeera also has a post about Graceland and the anniversary.

    – In the memory category, Boomitude presents a couple of fun podcasts of Billy Bob Thornton discussing his memories of Elvis’s death (“If Elvis could be gone, boy, bad stuff can really happen, can’t it?”) and reviewing his favorite Elvis songs. A memory of a different sort is recalled in in the Orange County Register, where Patricia Bunin uses the anniversary to recount her first kiss, which was from Elvis.

    – The Baltimore Sun uses the anniversary to ponder what books Elvis would be reading today. Taking the idea further, the International Business Times discusses “Five Stocks Elvis Might Have Enjoyed,” using his song titles for guidance. The same publication also has “10 Things You Might Not Have Known About the King.”

    – The Oakland County Daily Tribune has a long feature story on an Elvis-themed party store.

    – Politics seems to creep into everything these days, so here is the Huffington Post writing about Michelle Bachmann mistakenly wishing Elvis happy birthday on the day he died.

    – In the song category, the Christian Science Monitor ranks his five greatest songs with “Hound Dog” and “If I Can Dream” in the top five. Blogness on the Edge of Town, consistent with its Bruce Springsteen focus, features a collection of Elvis Presley songs covered by Springsteen. The website also features an audio clip of Springsteen discussing his Presley memories.

    – Every anniversary of Elvis’s death I try to re-read Lester Bangs’s beautiful essay from the Village Voice in 1977, “Where Were You When Elvis Died?” Check it out if you have never read it. “But I can guarantee you one thing: we will never again agree on anything as we agreed on Elvis.”

    Finally, here is an obligatory great Elvis performance. Not long before Elvis died, he played the piano and sang after playing racquetball. The two songs — the last songs he would ever sing — were Willie Nelson’s “Blue Eyes Crying in the Rain” and “Unchained Melody.” Although Elvis was in bad shape toward the end of his life, we often forget that he could still belt out a song.

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    Did you Know Taxi Driver Was Inspired by Astral Weeks?

    Astral Weeks Van Morrison Taxi Driver Director Martin Scorsese once claimed that the first fifteen minutes of the movie Taxi Driver (1976) were inspired by Van Morrison’s album Astral Weeks (1968). How is this violent movie connected to one of the most beautiful albums of all time?

    Sources About the Connection

    One of the main sources for the link is the essay, “Save the Last Waltz for Me,” where Greil Marcus wrote about the documentary The Last Waltz (1978) and hanging out with Martin Scorsese. The essay was originally published in New West (May 22, 1978) and reprinted in Marcus’s book, Bob Dylan: Writings 1968-2010 (p. 79).

    Several Internet sources claim that the “first half” of Taxi Driver is based on Astral Weeks.  These sources may be perpetuating misinformation from Wikipedia based on a later Marcus interview.  Instead, Marcus’s 1978 essay actually asserts that much less of the movie is based on the album.

    According to Marcus’s story, Scorsese put on the album when Marcus was visiting. “Madame George” came on.

    Down on Cyprus Avenue,
    With a childlike vision leaping into view,
    Clicking, clacking of the high heeled shoe,
    Ford & Fitzroy, Madame George
    Marching with the soldier boy behind;
    He’s much older with hat on drinking wine,
    And that smell of sweet perfume comes drifting through
    The cool night air like Shalimar;
    And outside they’re making all the stops;
    The kids out in the street collecting bottle-tops,
    Gone for cigarettes and matches in the shops.

    Scorsese said, “That’s the song.” He explained, “I based the first fifteen minutes of Taxi Driver on Astral Weeks, and that’s a movie about a man who hates music.”

    The First Fifteen Minutes of Taxi Driver

    During the first fifteen minutes of Taxi Driver, Travis Bickle (Robert De Niro) drives around the dirty 1970s New York streets.  He applies for and gets the job as a taxi driver. Writing a letter, he describes how he cannot sleep at night and that after his shifts he has to clean off the back seat of his taxi.

    Additionally, we see Bickle going to a pornographic movie.  There, he unsuccessfully tries to strike up a conversation with the woman who works at the concession stand.

    Interpretations of “Madame George”

    Critic Lester Bangs wrote an outstanding essay about Astral Weeks that gives some insight, even though he does not address the Taxi Driver rumor. But he did write about the “desolation, hurt, and anguish” in “Madame George.”

    Bangs called the song, “Possibly one of the most compassionate pieces of music ever made, it asks us, no, arranges that we see the plight of what I’ll be brutal and call a lovelorn drag queen with such intense empathy that when the singer hurts him, we do too.” He added, “The beauty, sensitivity, holiness of the song is that there’s nothing at all sensationalistic, exploitative, or tawdry about it.”

    A number of writers have offered various interpretations of the song “Madame George.” And Van Morrison has reportedly disputed some of the interpretations.  But a piece in Rolling Stone correctly asserts that “Madame George” is “a cryptic character study that may or may not be about an aging transvestite but that is certainly as heartbreaking a reverie as you will find in pop music.”

    The Connection Between Movie and Song?

    So what is the connection between the movie and the ambiguous song? Part of the connection seems to be that both are about lonely men wandering the dirty streets.

    There is heartbreak in both the movie and the song, so the connection seems more of tone than a literal connection. In his essay, Bangs also declined to “reduce” the other songs on the album by trying to explain them.

    You should read Bangs’s essay, but I will follow his lead and not try to explain the unexplainable any further. But the next time you watch Taxi Driver, think of the poetry found in the misery.  And reflect on the beauty of both the film and Astral Weeks.

    Check out our other posts on connections between music and the movie Taxi Driver: Kris Kristofferson’s “The Pilgrim, Chapter 33” and Jackson Browne’s “Late for the Sky.”

    Another Scorsese-Morrison Connection and Bonus Information About Taxi Driver: Martin Scorsese later used Van Morrison’s music for the beginning of another movie, Bringing Out the Dead (1999).  That film features some similarities to Taxi Driver.  Bringing Out the Dead opens with the main character driving a vehicle, although in this movie it is an ambulance instead of a taxi, and he is played by Nicolas Cage. During the scene, the music playing is Van Morrison’s “T.B. Sheets.” Regarding Taxi Driver, Obsessed With Film recently posted “50 Reasons Why Taxi Driver Might Just Be The Greatest Film of All Time.”

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    The Tragic Heroism of Curt Flood and Phil Ochs

    Curt Flood

    Scenes of my young years were warm in my mind,
    Visions of shadows that shine.
    Til one day I returned and found they were the
    Victims of the vines of changes.
    — Phil Ochs, “Changes”

    Most movies about heroes usually end in triumph with the hero accomplishing great things, making the feats seem easy in retrospect once you see the result. But if it were easy to be a hero, there would be nothing unique about those who sacrifice in an attempt to change the world. Two recent documentaries remind us that there is a real risk and cost to attempting to accomplish something great. One film, The Curious Case of Curt Flood (2011), is a new HBO documentary about the baseball player who attempted to break baseball’s reserve clause. The other movie, released on DVD this July 2011, is Phil Ochs: There But for Fortune (2010), telling the story of the activist and folk-singer. Both stories remind us that standing up for one’s beliefs has costs.

    The Curious Case of Curt Flood follows HBO’s tradition of creating outstanding sports documentaries, although much of Curt Flood’s story is not about athletic prowess. Curt Flood had been a star center fielder with the St. Louis Cardinal when the team opted to trade him to the Philadelphia Phillies after the 1969 season. At the time, players were limited by a reserve clause in their contracts that gave them no say about where they played. Flood wanted to change that, and he decided to sue Major League Baseball in a case that eventually went to the U.S. Supreme Court.

    The Curious Case follows Flood’s suit and Flood’s life as you see how much he gave up by foregoing his baseball career to pursue what he saw as a basic human right of not being controlled by one’s employer. At the time, other players were afraid to support him openly, and many in the public viewed Flood’s actions as showing a greedy ballplayer. But with candid interviews from people like Flood’s former teammate Bob Gibson, the film shows not only how Flood was a hero but how much he sacrificed as his life spiraled downward into alcoholism and other troubles after he made the decision to stand up for what he believed.

    Phil Ochs There But for the Fortune Phil Ochs sang and stood for a number of issues during the 1960s and 1970s. He never achieved the success of his contemporary Bob Dylan, but he will always be a hero to members of the anti-war and civil rights movements. Phil Ochs: There But for Fortune has interviews with Ochs’s family members, anti-war activists, other singers (but no Dylan), and recordings from Ochs himself. There are a number of videos of Ochs talking and singing that I had never seen before, and it was a revelation for me to see him throughout all stages of his career.

    The Ochs film is excellent, although there is a sadness that hangs over the tale even from the beginning. In retrospect, perhaps it is because we know how long it took for the Vietnam war to end or because of a sense of how Ochs’s life would end. Like Flood, Ochs was a victim of both his own flaws and of flaws in American society.

    While a lot of people will know the stories of these two men, I suspect that many more are merely familiar with a one- or two-sentence biography of each and will learn a lot from these films. Both are excellent documentaries about two flawed men who reached for the stars and are heroes even if they fell short of their goals. The Curious Case of Curt Flood and Phil Ochs: There But for Fortune are two stories everyone should know. And they are two reminders of why so few people aspire to be heroes in the real world.

    If you’d like more information, HitFlix has a good review of the Curt Flood film, and The Huffington Post has a good review of the Ochs film. Curt Flood photo via HBO.

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    I Brought a Comb: “Stand By Me” is 25

    Stand By Me gun This week is the twenty-fifth anniversary of the release of the movie Stand By Me. Like me, you should plan to watch it again. It is a movie that many of us connect to over and over again. For example, about a year ago, I discovered that a childhood friend had passed away. I had lost touch with the friend when we were both kids and he moved away, but I still felt close to him. The best explanation I could give to anyone at the time was a line from Stand By Me, where the writer character played by Richard Dreyfus looks back and writes, “I never had any friends later on like the ones I had when I was twelve. Jesus, does anyone?”

    Below is a clip from the film, but you should check out Will Wheaton’s new blog entry, “I was twelve going on thirteen when I made the movie that changed my life.” Wheaton, who played Gordie in the movie, discusses reuniting with the surviving cast members Corey Feldman and Jerry O’Connell. And he talks about coming to terms with the death of River Phoenix. It is a moving must-read for any fan of the movie.

    There are some other good articles about the anniversary around the web. Popdose has a thoughtful piece about the movie’s anniversary, including some discussion of the Stephen King book that was the source for the film. SlashFilm lists twenty-five lessons from the film. And NPR has an audio story that includes an interview with Wheaton that he discussed in his blog post. Few movies hold up as well as Stand By Me, which is a genuine classic about being young and growing up. As Wheaton notes in his blog post, “[M]ovies like Stand By Me come along once in a generation.” That is true, if we are lucky.

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