Before the advent of drug traffickers and serial killers, films often focused on conflicts over real estate. Think of the red dirt of Tara in Gone With The Wind, the stately mansion in The Magnificent Ambersons or the contested open plains in Shane. Property is also the focal point of House of Sand and Fog, based on the 1999 novel by Andre Dubus III.
Martin Scorsese’s Taxi Driver has to be one of the most disturbing films ever made. Working with the metaphor of the city as sewer, Scorsese catches the sin-stained sensations of New York’s teeming streets, where prostitutes, pimps and pushers parade under the scrutiny of Travis Bickle, the cruising cab driver who is a kind of contemporary Quixote.
When Mary Magdalene said she’d seen the Lord it was strangely disappointing One of the worst women saved from the street to have been first I knew it must be true that’s just what he would do but then when I was the only one to fight fear & search for myself the others lagging behind it was like the soldier’s spear went right through me too when I returned to hear the others bragging (that was the worst) that I was the only one not to have been there not to have seen where his hands were pierced I went into denial I won’t believe I said Anything less than my fingers in his wounds won’t be enough My words sounded odd to my ears A week later I was among them when he appeared & called my bluff My Lord & my God Conviction rolled off my tongue