Horror On TV: The Dead Don’t Die (dir by Curtis Harrington)

Posted on October 25, 2025 by Lisa Marie Bowman

For today’s horror on television, we have a 1975 made-for-television movie called The Dead Don’t Die!

The Dead Don’t Die takes place in Chicago during the 1930s. George Hamilton is a sailor who comes home just in time to witness his brother being executed for a crime that he swears he didn’t commit. Hamilton is convinced that his brother was innocent so he decides to launch an investigation of his own. This eventually leads to Hamilton not only being attacked by dead people but also discovering a plot involving a mysterious voodoo priest!

Featuring atmospheric direction for Curtis Harrington and a witty script by Robert Bloch, The Dead Don’t Die is an enjoyable horror mystery. Along with George Hamilton, the cast includes such luminaries of “old” Hollywood as Ray Milland, Ralph Meeker, Reggie Nalder, and Joan Blondell. (Admittedly, George Hamilton is not the most convincing sailor to ever appear in a movie but even his miscasting seems to work in a strange way.)

And you can watch it below!

Enjoy!

Horror Film Review: Love At First Bite (dir by Stan Dargoti)

Posted on October 20, 2025 by Lisa Marie Bowman

Disco Dracula!

In 1979’s Love At First Bite, George Hamilton plays Dracula, who goes from living in Transylvania to trying to make it in New York City. Even when you’re the King of the Vampires, it turns out that New York can be a difficult place to live. No one has much respect for the tanned man in the cape, even after he shows off his powers. He falls in love with a model, Cindy Sondheim (Susan Saint James), but she doesn’t buy into the idea that he’s a vampire. She’s a New Yorker and she’s in therapy. Her therapist, Dr. Jeffrey Rosenberg (Richard Benjamin), is a direct descendant of Prof. Van Helsing and he does believes that “Vladimir” is a vampire but he can’t get anyone to believe him. When he takes his concerns to the NYPD, Lt. Ferguson (Dick Shawn) dismisses him as being insane. Which, to an extent, he is but only because no one will believe him….

Meanwhile, Dracula’s faithful servant, Renfield (Arte Johnson), starts every morning by leaning out of his apartment window and pretending to be a rooster. It’s his signal to let Dracula know that it’s time to come home. Dracula is so in love with Cindy that he sometimes forgets to keep track of time. It’s a New York love story….

Love At First Sight is a comedy that essentially gets a lot of mileage out of a handful of jokes. The main joke is the idea of George Hamilton, with his perpetual tan, playing Dracula and speaking with a Bela Lugosi-style accent. Hamilton plays Dracula as being very confident and very smooth but also rather befuddled by 1979. He’s a gentleman of the “old world” after all. The other big joke is that Dracula is in New York, a city where no one is impressed by anything. This is very much a “New Yorkers Will Be Rude To Anyone” movie, a genre that was very popular in the 70s. Some films, like Taxi Driver, used the rudeness of New York as a metaphor for paranoia and detachment. Love At First Bite uses it for laughs.

(For the record, my favorite “New Yorkers Will Be Rude To Anyone” movie is the original The Taking of Pelham One Two Three. Also, the last time I briefly visited New York, everyone was very nice and polite to me. Only once did someone yell, “Look out, lady!” and I’m still not really sure what I was supposed to be looking out for.)

There’s a lot to like about Love At First Sight. Susan Saint James and George Hamilton don’t exactly have a ton of chemistry but Hamilton himself is fun to watch. “Children of the night — shut up!” he yells at the wolves and it’s hard not to smile. It’s just so goofy. Hamilton and Arte Johnson are a good comedic team and, for that matter, so are Richard Benjamin and Dick Shawn. It’s a film of set pieces. Dracula and Renfield rob a blood bank. Jeffrey confronts Dracula at dinner. Dracula pops out of his coffin at a church. Some of the set pieces work better than others and this is very much a film of its time but overall, it’s a genial and amusing send-up of the vampire genre.

And it features Dracula at a disco! It’s a 70s movie and it stars George Hamilton so it’s not really surprising that the action moves to a disco. Still, if you can’t appreciate the sight of a caped Dracula showing off his best moves, I don’t know what to tell you.

Love At First Sight is a reminder that not every Halloween movie has to be terrifying. Some of them can just make you laugh.

Made For TV Horror: Death Car On The Freeway (dir by Hal Needham)

Posted on October 3, 2025 by Lisa Marie Bowman

I, for one, am tired of the stereotype that women cannot drive.

I’m a woman and I can tell you right now that I am an above average driver. I’ve only had one major accident. Admittedly, I did smash into a parked car but it was raining and I really couldn’t see that well because I was driving convertible and the window was fogged up. Plus, whoever parked that car must have done a bad job and left it sitting out in the middle of the street. For the record, my convertible flipped over on impact so the parked car did far more damage than I did.

Other than that, I usually manage to stop in time for red lights. I’ve only driven through a few stop signs and that was just because I didn’t notice them. I’ve very rarely been given a speeding ticket. Instead, the police have always been very polite about just giving me a warning. And yes, it is true that I have trouble with curbs and turns and going in reverse and all that but I’ve seen plenty of men do the same thing.

The statistics show that, while women are involved in more accidents, the accidents are more likely to be fatal if a man is driving. Men are also more prone to get upset and pull a gun during a road rage incident whereas women just give other drivers the finger. Women are not inherently bad or dangerous drivers. The one exception, at least down here in Texas, are middle-aged women who drive SUVs with faded Beto stickers. You really don’t want to get stuck behind one of them in traffic.

I found myself thinking about the misogyny behind the “women-are-bad-drivers” stereotype as I watched 1979’s Death Car On The Freeway. Death Car On The Freeway features a madman who is so sick of women driving in Los Angeles that he starts using his Dodge van to cause them to have accidents. We don’t actually see his face or really learn much about him. What we do see are his black-gloved hands on his steering wheel, which is a nifty homage to the giallo genre. (Giallo killers have a thing for black gloves.) Whenever the driver does try to force a woman into a fatal accident, he pops in an 8-track of hyperactive fiddle music. The fiddle has never sounded more menacing than it does in Death Car On The Freeway. It’s almost like prog rock fiddling. Imagine a country western fiddler who has just done a mountain of cocaine and you’ll get a feeling for this guy’s taste in music.

News reporter Shelley Hack thinks that the public has the right to know that there’s a man causing women to crash their cars. Her ex-husband, played to smarmy perfection by George Hamilton, thinks that Shelley should quit her current job and come work with him. Meanwhile, police inspector Peter Graves is concerned that the media going to start a panic and make it more difficult for him to track down the “Freeway Fiddler.” (One gets the feeling that Graves feels this entire mess could have been avoided if women had never been allowed to drive in the first place.) At one point, Hack meets with a defensive driver instructor and he’s played by the film’s director, Hal Needham.

Oh, how I love this film! Seriously, it’s got car chases, car crashes, 70s outfits, George Hamilton, Peter Graves, and a genuinely frightening villain. This is one of those films where you might be tempted to be dismissive. Folks like Dinah Shore, Sid Haig, and Abe Vigoda show up in small roles, reminding you that this really is a 70s made-for-TV movie. But then, that fiddling explodes on the soundtrack, that van starts tailgating someone, and Death Car On The Freeway suddenly becomes a cinematic nightmare. It’s not a surprise that Hal Needham was able to stage some impressive driving stunts in Death Car On The Freeway. That was Hal Needham’s thing. But Needham also manages to craft a compelling and, at times, genuinely frightening film. Anyone who has ever glanced into their rearview mirror and suddenly realized that another vehicle is following them will be able to relate to the fear of the Fiddler’s victims.

This is a great movie and a reminder that women are not the most dangerous drivers on the streets. Unless, of course, they’re driving an SUV with a faded Beto sticker….

Icarus File No. 24: Express to Terror (dir by Dan Curtis)

Posted on October 1, 2025 by Lisa Marie Bowman

The year was 1979 and Fred Silverman, the president of NBC, had an idea.

How about a television series in which each week’s episode would depict a different group of passengers going on a trip? The passengers would all be dealing with their own stories, some of which would be dramatic and some of which would be humorous. With any luck, some of them might even fall in love over the course of their journey!

To keep the audience interested, the show would also feature a cast of regular characters, the crew. Edward Andrews would play the captain, a sensible and by-the-book type. Robert Alda played Doc, the doctor who was also a bon vivant. Patrick Collins was the goofy purser. Nita Talbot played Rose, the perky director of entertainment. Michael DeLano was the bartender who always had the best advice for the passengers….

Does this sound familiar?

If you think that it sounds like Fred Silverman just ripped off The Love Boat …. well, you’re wrong. The Love Boat took place on a boat. Supertrain took place on a train.

At the time that Supertrain went into production, it was the most expensive television production of all time. Before the pilot film was even shot, NBC had spent ten million dollars on the Supertrain sets. Not only was a fake train built but two models were also constructed for the shots of the train moving through the countryside. At the time, the assumption was that the costs would be easily covered by the money that NBC stood to make from broadcasting the 1980 Summer Olympics. Unfortunately, Jimmy Carter decided that the U.S. would be boycotting the Olympics as a way to protest Russia’s invasion of Afghanistan. The only thing that kept NBC from going bankrupt was that the BBC was apparently run by someone even more incompetent than Fred Silverman. The BBC paid $25,oo per episode for the rights to air Supertrain in the UK. Supertrain proved to be such a disaster that the BBC never actually aired the episodes that they had purchased.

1979’s Express to Terror was the pilot to Supertrain. (It was later released in some territories as a stand-alone film.) Directed by horror impresario Dan Curtis (who was also brought in to produce the series), Express to Terror opens with an apparently drunk Keenan Wynn playing the role of railway baron Winfield Root. Winfield loudly announces to a group of nervous investors that he has created ” an atom-powered steam turbine machine capable of crossing this country in 36 hours!” A few months later, Supertrain sets off from New York to Los Angeles.

The main thing that one notices about the train is that it’s incredibly tacky. For all the money that Winfield Root (not to mention NBC) poured into the thing, it looks awful. The cabins are bland and also seem to be constantly shaking as the train rumbles over its tracks. Whereas The Love Boat featured glorious shots of passengers enjoying themselves on an open-air deck, Express to Terror features a lot of shots of passengers trying to squeeze their way through narrow and crowded hallways. There’s a disco car, which sounds like fun but actually looks like a prom being held in a locker room. There’s a swimming pool but you can’t really lay out by it because it’s on a train. Winfield is among the passengers and he continually refers to the train as being “Supertrain” in conversation, which just sounds dumb. “The next person who stops Supertrain,” he announces “will be walking to L.A!”

The main drama features Steve Lawrence as Mike Post, a Hollywood agent with a gambling problem who thinks that someone on the train is trying to kill him. Actually, the assassin is after a different Mike Post (Don Stroud) but that Mike Post is a criminal who, after entering the witness protection program, changed his name to Jack Fisk. The criminal Post is hoping that the agent Post will be killed by mistake. The criminal Mike Post has a girlfriend named Cindy (Char Fontane) who falls in love with the agent Mike Post. Fred Williamson appears as a football player-turned-assassin. George Hamilton plays a Hollywood executive. Don Meredith is the alcoholic best friend of the agent Mike Post. Stella Stevens is on the train as a diva. So is Vicki Lawrence, playing a naive innocent.

Express to Terror tries to mix comedy and drama but it doesn’t really work because the “Good” Mike Post doesn’t really seem to be worth all the trouble. Steve Lawrence gives a mind-numbingly bad performance in the role and, as a result, “Good” Mike Post really isn’t any more sympathetic than “Bad” Mike Post. The main problem is that “Good” Mike Post comes across as being a coward and there’s only so much time that you can watch a coward act cowardly before you lose sympathy for him. Being scared is one thing. Being so dumb that accidentally gets your fingerprints on a knife that’s just been used to kill a man is another thing.

As for the members of the crew — the captain, the doctor, the bartender, and such, they take a back seat to the drama of the two Mike Posts. It’s a bit odd because no one on the train — not even Winfield Root — seems to be that upset by the fact that one of their passengers is murdered while the train is going through a tunnel. You would think that everyone would be worried about the future of Supertrain at that point. A murder is not good for publicity but Winfield Root is oddly unconcerned about it. I swear, light rail people are almost as heartless as bicyclists!

Of course, the worst thing about Express to Terror is that it promises terror but it doesn’t deliver. When I see a the word “terror” in a film directed by Dan Curtis, I expect a little terror! Other than Steve Lawrence’s overacting, there really wasn’t anything particularly terrifying about Express to Terror.

As for Supertrain, it ran for nine episodes and was promptly canceled. Fred Silverman left NBC and spent the rest of his career as an independent producer. Supertrain’s tracks got too close to the sun and they nearly took down a network.

Previous Icarus Files:

Brad’s “Scene of the Day” – George Hamilton beats up… Charles Bronson?!!

Posted on August 12, 2025 by Bradley Crain

Happy 86th birthday to George Hamilton, also known as Zorro the gay blade in some circles!

One of the great things about movies is the way they ask us to suspend our disbelief in service of the story they are presenting. Most of the time we’ll go right along with the filmmakers, but sometimes they do go a little too far. For example, did y’all know there is a movie where George Hamilton beats up Charles Bronson?!! I’m not kidding! It’s true! The movie is called A THUNDER OF DRUMS (1961), and I’m including video evidence!! Enjoy my friends!

Meet Wally Sparks (1997, directed by Peter Baldwin)

Posted on May 1, 2024 by Jedadiah Leland

Wally Sparks (Rodney Dangerfield) is a talk show host with a program that is so raunchy that even Jerry Springer says, “At least this isn’t The Wally Sparks Show!”

Despite being a huge hit amongst teens and college students, the show is on the verge of being canceled by the head of the network, Mr. Spencer (Burt Reynolds, wearing a fearsome toupee). He is tired of Wally’s antics and he tells Wally and his producer, Sandy Gallo (Debi Mazar), that they have a week to make the show respectable.

Wally doesn’t know what to do. Wally Sparks act respectable? Wally’s a guy who don’t get no respect, no respect at all. Then Sandy finds a letter inviting Wally to attend a party at the home of Georgia Governor Floyd Patterson (David Ogden Stiers), a noted critic of the show. Hoping to get the interview that will save the show, Wally and Sandy head down south.

At the party, Wally acts like Wally and scandalizes all of the politicians and socialites. He also shares a bottle of whiskey with a horse and then rides the horse through the mansion. The party is a disaster but, after Wally claims that he can’t walk because of a spinal injury he suffered when he fell off the horse, the Governor allows him to recuperate in the mansion. Wally causes more chaos while also teaching the Governor’s wife (Cindy Williams) how to play strip poker and eventually exposing a scheme to blackmail the Governor into building a Confederate-themed amusement park.

Rodney Dangerfield playing a talk show host sounds like a great idea and there are a lot of talented people to be found in Meet Wally Sparks. Debi Mazar is an actress who should have appeared in a lot more movies and she and Rodney Dangerfield make a good team. The movie actually gets off to a funny start, with a montage of actual talk show hosts talking about how much they hate Wally Sparks and his show. Gilbert Gottfried has a cameo as a manic guest and Wally repeats some of Rodney Dangerfield’s classic jokes.

Unfortunately, the movie starts to fall apart as soon as Burt Reynolds threatens to cancel the show for being too lowbrow. No network executive has ever threatened to cancel a show that’s bringing in the ratings, regardless of how lowbrow it might be. Things get even worse after Wally goes to Atlanta and ends up staying there. The movie tries to recreate the Snobs vs. the Slobs dynamic of previous Dangerfield films but the Governor comes across as being such a decent man that there’s no joy to be found in watching his life get turned upside down. The movie has a surprisingly large number of subplots, including one about Wally’s son (Michael Weatherly) falling for the Governor’s daughter (Lisa Thornhill), but most of them go nowhere and just distract from the man who should have been the film’s main attraction, Rodney Dangerfield. By the end of the movie, even the usually irrepressible Dangerfield seems to have been neutered.

Rodney Dangerfield was a national treasure but Meet Wally Sparks was not the best showcase for his persona or his style of humor. Fortunately, Caddyshack and Back To The School are available to watch anytime that we need a good laugh and we want to show Rodney Dangerfield a little respect.

Guilty Pleasure No. 61: Double Dragon (dir by James Yukich)

Posted on May 1, 2023 by Lisa Marie Bowman

The time is …. the future!

The future looks a lot like a cheap music video. Due to repeated earthquakes, California is now an island and Los Angeles has been left in ruins. The city has been renamed New Angeles, even though the correct name would have been Nuevos Angeles but whatever. The important thing is that city is now a mess. The police allow the gangs to run rampant at night in return for not running rampant during the day. The nightly news, which is anchored by George Hamilton and Vanna White, is full of stories about the federal government refusing to send any more aid to California, despite the fact that Jerry Brown is the Vice President. For some reason, Andy Dick plays the weatherman and gives continual updates on the smog and rain.

Despite the fact that the city is the most dangerous place on Earth, Satori Imada (Julia Nickson) still makes the time to drive her teenage sons, Billy (Scott Wolf) and and Jimmy Lee (Mark Dacascos, who was clearly not a teenager when this film was shot) to and from their karate tournaments. However, that might all end because Sartori possesses half of a magic medallion and the evil Koga Shuko (Robert Patrick, looking oddly like Sugar Ray’s Mark McGrath) has the other half. Satori gives her half of the medallion to Billy and tells him that he and his brother must keep it out of the hands of Shuko.

That’s not going to be easy because Shuko not only has control of the local gangs but also the police. Fortunately, rebel leader Marian Delario (Alyssa Milano) is willing to help out the Lee brothers. It all leads to a lot of fights, a lot of running, some campy humor, and stiffly delivered dialogue. For whatever reason, the filmmakers decided that the way to make this marital arts film a success would be to push accomplished martial artist Mark Dacascos into the background and instead focus on Scott Wolf, who spends most of the movie looking like he’s either confused by the plot or terrified as to what Double Dragon might do to his career.

Yeah, this movie is pretty stupid and the plot is pretty much impossible to follow. And yet, it is oddly entertaining in its own weird way. If you ignore the story and just focus on the visuals, it can actually be kind of fun. Look at all the bright colors. Look at Robert Patrick, with his goat-tee and his 90s pop star hair. Look at Alyssa Milano, who, surprisingly, seems to actually be in on the joke. Look at all of the Mad Max-inspired fashion choices. From a purely visual point of view, New Angeles is a huge improvement on Los Angeles. Along with the film visuals, the film is also worth watching just so one can witness just how over-the-top Robert Patrick goes in his performance. I don’t normally think of Patrick as being someone who chews the scenery but, in this film, he gives into every cartoonish impulse that he has and it’s actually a lot of fun to watch. There’s not a moment of subtlety to be found in either his performance or Alyssa Milano’s and thank the Angels for that. Finally, I have to appreciate the fact that the film’s main message appears to be that the government and all other forms of civil authority are basically useless. Not even Vice President Jerry Brown can be bothered to help out the people of New Angeles. That pretty much tells you all that you need to know.

In the end, Double Dragon is not a particularly good film but it’s fun in its own deeply dumb way.

Previous Guilty Pleasures

The Strange Possession of Mrs. Oliver (1977, directed by Gordon Hessler)

Posted on October 19, 2022 by Jedadiah Leland

Miriam Oliver (Karen Black) is a prim housewife who always keep her hair in a tight bun and who wears eyeglasses. After she starts to have dreams about going to her own funeral, Mrs. Oliver’s personality starts to change. Her husband, Greg (George Hamilton), can only watch as Mrs. Oliver puts on a blonde wig, ditches her eyeglasses, and starts to dress in revealing clothes. Greg wants to concentrate on starting a family but the new Mrs. Oliver only cares about going out and partying all night. She also wants to move into a new house, one that was previously owned by a woman named Sandy. Sandy, who was a student of the occult, died in a mysterious fire.

The Strange Possession of Mrs. Oliver is a good made-for-TV movie that gives viewers two Karen Blacks for the price of one! Black is undeniably sexy, whether she’s playing the prim Mrs. Oliver or the wild Sandy. But she also delivers a really good performance as she switches back and forth from being Mrs. Oliver and being Sandy. Richard Matheson provides an intelligent script while Gordon Hessler’s direction keeps you guessing as to whether Mrs. Oliver is truly possessed or if she’s just having a mental breakdown of some sort. This is an enjoyably twisty thriller with a good ending and a knockout performance from Karen Black.

What Could Have Been: George Hamilton as Travis Bickle?

Posted on August 7, 2022 by Lisa Marie Bowman

I was recently reading the IMDb trivia page for Martin Scorsese’s 1976 film, Taxi Driver.

Taxi Driver is often held up as the being the ultimate New York horror story as well as being the quintessential Martin Scorsese/Robert De Niro collaboration. In fact, the film is so identified with Scorsese, De Niro, and screenwriter Paul Schrader that it is easy to forget that it actually took a while for Scorsese and De Niro to become involved with the project. Quite a few different directors showed interest in Schrader’s script before Scorsese signed on. And, even though the role will always be associated with him, De Niro was not the only actor considered for the role of Travis Bickle.

That’s what brought me to the IMDb trivia page. I wanted to see who else was considered for the role of Travis. Here’s the list that I found: Jeff Bridges, Jack Nicholson, Dustin Hoffman, Warren Beatty, Burt Reynolds, Ryan O’Neal, Peter Fonda, Al Pacino, Jon Voight, Robert Blake, David Carradine, Richard Dreyfuss, Christopher Walken, Alain Delon, James Caan, Roy Scheider, Paul Newman, Marlon Brando, Martin Sheen, Elliott Gould, Alan Alda, and George Hamilton. That’s quite a list! And. for the most part, I don’t buy it for a second.

Don’t get me wrong. It is known that Al Pacino was sent the script before Scorsese came on board. And Scorsese himself has said that he offered the role to Dustin Hoffman. (Hoffman says he turned down the role because Scorsese’s intensity freaked him out.) Jeff Bridges was also a possibility and, if you read Schrader’s script and force yourself to forget about De Niro’s performance, you can actually imagine Bridges in the role. I could also imagine a youngish Martin Sheen in the role. He had just played Charlie Starkweather in Badlands so one can imagine him being considered for Travis. Peter Fonda and Robert Blake seem possible as well. Even David Carradine.

But some of the other names on that list …. Alain Delon? Paul Newman? Alan Alda? GEORGE HAMILTON?

This George Hamilton?

Listen, I like George Hamilton. He’s a good comedic actor. And I know that there were a lot of directors who took a look at Paul Schrader’s script and I also know that some of Travis’s most iconic moments — like the whole “You talkin’ to me?” scene — were improvised by De Niro and were not in the original script. Taxi Driver could have gone in a lot of different directions. But I’m just going to say right now that there is no way that George Hamilton was ever considered for the role of Travis Bickle. It’s totally possible that Hamilton was considered for another role in the film. I could imagine him as the presidential candidate, Charles Palantine. I could also imagine him in the role of Tom, Palantine’s campaign manager. Perhaps he was offered one of those roles and someone, reading that George Hamilton had turned down Taxi Driver, got it into their head that he was considered for Travis.

Or maybe …. someone just made the whole thing up. I enjoy the IMDb trivia pages but I’ve come across a lot of information that simply is not true. Despite what the page for the original Halloween says, I refuse to believe that John Belushi was considered for the role of Dr. Loomis. For that matter, I also refuse to believe that Bill Murray was a runner-up for the role of Han Solo in Star Wars. Sorry, IMDb trivia people. I just don’t buy it.

Arthur Bremer

Here’s what we do know. Paul Schrader was originally inspired to create the character of Travis Bickle by Arthur Bremer, a non-descript 21 year-old Midwesterner who, in 1972, shot and nearly killed presidential candidate, George Wallace. After the shooting, police turned up a diary in which Bremer wrote about his desire to be someone. According to Bremer, he shot Wallace not as a political act but because he wanted to be famous. Schrader later said that, while writing the script, the story became less about Bremer and more about Schrader’s own social isolation.

The script was optioned by the production team of Tony Bill and Julia and Michael Phillips. They had just recently produced the Oscar-winning The Sting. Originally, Tony Bill wanted to make his directorial debut with the film. That was when the script was sent to Al Pacino. Pacino turned down the role, reportedly because he didn’t want to work with a first-time director. (Tony Bill, a former actor, later directed several films, most of which appeared to be taking place in a totally separate universe from Schrader’s vision of urban Hell.)

The script was eventually read by Brian De Palma, who voiced an interest in directing the film. DePalma’s choice for the role of Travis Bickle? Jeff Bridges.

Today, it might be hard to imagine the affable, laid-back Jeff Bridges as Travis Bickle but, if you read the script, it’s easy to see why De Palma considered him for the role. Travis was written as being someone from the middle of the country, someone who was out-of-place in New York City. Travis was meant to be lost in New York. (Though Travis does say that he’s from the midwest in Scorsese’s film, Robert De Niro himself remains the prototypical New Yorker.) At least initially, Bridges would have been a bit less obviously unstable than De Niro. As good as Taxi Driver is, it always seems a bit strange that Betsy would agree to go out with De Niro’s Travis but it’s a bit easier to believe that she would take a chance on Jeff Bridges, with his charming smile and likable manner. Bridges’s descent into madness would have been all the more devastating because he was such an outwardly affable presence. I’m not saying it would have worked but I can still see what De Palma would have been going for in his version of Taxi Driver.

That said, De Palma did not make Taxi Driver. He instead decided to do Carrie. A young Steven Spielberg briefly showed interest in Taxi Driver (the mind boggles) before decided to do Jaws instead. Eventually, after being introduced to Schrader by De Palma, Martin Scorsese agreed to direct the film. After getting turned down by Dustin Hoffman, Scorsese offered the role to De Niro.

As for the rest of the cast, Rock Hudson would have been an interesting choice for the role of Sen. Palantine but he turned down the script because he was busy with a television show. There was also some talk of casting former New York Mayor John Lindsay in the role but, in the end, the role was given to a writer named Leonard Harris.

The role of Tom was originally offered to Harvey Keitel. Because Keitel wanted to play the pimp, Albert Brooks ended up as Tom. Because there wasn’t much to Tom in the script, it was felt that, as a comedian, Brooks could bring some sort of life to the character. Indeed, Brooks reportedly improvised the majority of his lines.

Despite the fact that producer Julia Phillips wanted to cast Farrah Fawcett in the role, Martin Scorsese selected Cybil Shepherd for the role of Betsy. If you believe the IMDb, Meryl Streep was offered the role but turned it down. (If I sound skeptical, it’s because Streep hadn’t even made her film debut at the time that Taxi Driver went into production.) Glenn Close, Jane Seymour, and Susan Sarandon auditioned for the role. Mia Farrow reportedly wanted the role but was turned down by Scorsese.

As everyone knows, Jodie Foster played the 13 year-old prostitute, Iris, in Taxi Driver. A man named John Hinckley, Jr. was so obsessed with Foster’s performance that he went the same route as Travis Bickle and attempted to assassinate the president in an effort to impress her. Foster, however, was only picked after Scorsese saw several up-and-coming actresses. Reportedly, due to the success of The Exorcist, Linda Blair was seriously considered for the role. Tatum O’Neal was also considered, after winning her Oscar for Paper Moon. Scorsese came close to casting Melanie Griffith but then Tippi Hedren read the script and nixed the idea. Among the others who supposedly read for Iris: Mariel Hemingway, Jennifer Jason Leigh, Heather Locklear, Kristy McNichol, Carrie Fisher, Ellen Barkin, Kim Basinger, Geena Davis, Michelle Pfeiffer, Brooke Shields, Debra Winger, Rosanna Arquette, Bo Derek, and Kim Cattrall.

Finally, actor George Memmoli was injured on the set of another film, which led to Scorsese playing the passenger who talks to Travis about murdering his wife.

In the end, the right director and the right cast were selected and Taxi Driver became a classic of urban paranoia. Still, it’s always fun to play What If. On Earth-2, someone is watching Jeff Bridges, Rock Hudson, Jane Seymour, and Melanie Griffith in Brian De Palma’s Taxi Driver. And, on Earth-3, George Hamilton is polishing his Oscars and thinking about how playing Travis Bickle changed his life.