Travis Bickle. Rupert Pupkin. David DePape. We Need A Movie.
02.11.2022 - 18:11
/ deadline.com
Travis Bickle. Rupert Pupkin. Gil Renard. David DePape?
Where’s Robert De Niro when you need him?
De Niro, who has a way of elevating weird character roles into commanding lead parts, made a cottage industry of portraying the sort of person who now stands accused of attacking Paul Pelosi, in what is alleged to have been a scheme to take hostage his wife Nancy, the Speaker of the U. S. House of Representatives. (DePape has pleaded not guilty to attempted murder and other charges.)
Bickle in Taxi Driver (1976), Pupkin in The King of Comedy (1982) Renard in The Fan (1996) were eerily recognizable as examples of a perhaps uniquely American type. Marginalized. Damaged. Increasingly isolated. They spiral into very personal obsession, as the noisy pop and political culture overwhelms their fragile grip on the real.
It was fascinating stuff, the more so because brilliant filmmakers like Martin Scorsese, who directed both Taxi Driver and The King of Comedy, or Tony Scott, who made The Fan, probed their scary subjects with a kind of chilling empathy that is necessarily lost in the politically riven media coverage of a DePape.
Reporters hunt for the next fact and evidence of motive or influence. But filmmakers, the good ones, come at these frightening people from the inside, leaving viewers with the awful sense that they, the demented outcasts, are our own fault—they are the inevitable fallout of a society that trades too heavily in fame and public drama.
It has nothing to do with party politics. Turn the screw once or twice, and any somewhat fragile psyche can crack, creating the next “D-FENS,” William Foster, the defense engineer, played by Michael Douglas, who spread mayhem across Los Angeles, and monopolized the news cycle,