Orson slept here: The St. Regis Hotel as portrayed by Scorsese's Taxi Driver (Photo: Senses of Cinema)

Sometimes, when I look back at the volume of crap this blog comprises, I take a moment to wonder if I did not have anything better to do for the last four-and-a-half months. And then I read something like John Thurman's "Citizen Bickle, or the Allusive Taxi Driver: Uses of Intertextuality," (via Movie City Indie) after which I feel as though I have been brandishing the cutting cultural edge for millions.

That is not to trivialize or dismiss Thurman's work, because there is obviously some serious viewing labor behind his analyses of the allusions sprinkled through Scorsese's film (as well as Schrader's original script). But Jesus Christ: Do we need another few thousand words to say a great film stole from Citizen Kane? I mean, is it not an overcooked fact that at least the last two generations of American filmmakers owe their lives in part to Orson Welles and Gregg Toland?

Exhibit A: Thurman notes the similarites between Scorsese's introduction of Betsy (Cybill Shepard) and Welles' introduction of Rosebud (a sled), both of which bump up against close-ups of writing:

Scorsese modifies the borrowing from Kane by reversing the order, introducing the words of the text only after the flashback is shown. But, fundamentally, the two are a very close match. Both films feature a scroll over the handwriting of a personal recollection. Travis' introductory voice-over wording is very similar to that of Thatcher's memoirs. Both dissolve: Citizen Kane to Rosebud, and Taxi Driver from Betsy. Both also feature Bernard Herrmann scores, expanding similarly upon a lyrical love theme not heard since the film's start, and utilizing the harp to do so.

Then you have got Betsy's white dress and Bernstein's pining for the girl on the ferry who wore the white dress; you have got Travis clapping during a political speech while the newsmen clap at the end of the Kane newsreel; you have got Scorsese shooting and staying at the St. Regis Hotel (Welles stayed there, you know); and even some Hitchcock-snatching (another shocker) in Taxi Driver's captivity narrative.

Good eye, Thurman--totally illuminating stuff--but this is the 21st century, pal. I think the time has come to play "one degree of separation" with, say, Just Married and Scenes From a Marriage. That is the essay the world is waiting for.