Short and much more succinct, director Donlee Brussel’s “Cabbie” has really managed to change its overall tone, lending to its a bittersweet taste that I thought worked much better. “Cabbie” still has its flaws, but when it was done, the purpose of “Cabbie” seemed much more focused. “Cabbie” is centered on aspiring cabbie Marty, who is a combination of naive and quirky. He sees the more interesting purpose of cabbies as being a noble profession, and wants desperately to be the nomadic cab driver that travels the city looking for new people to take to their destination.
Why he wants to be a cab driver is made much more apparent, and there’s no filler leading in to the ultimate resolution. With his consistent rambling and rationalization for wanting to be a cabbie, we can see why controlling a yellow taxi would seem amazing to him. His stories of cabbies and their importance in life help us to identify with his dream, however minute it may seem to us. Steve Gelder is still very charming as the aspiring cabbie Marty, who identifies his dream for the cameras, and extrapolate his ideal dream of delivering a baby in a taxi and being remembered for something grand in his ultimate profession.
The jokes are still overplayed somewhat, and what could serve as one-liners are forced on us until we’re ready for the character Marty to move on. His story about his break up with his girlfriend would have been much funnier with a shorter punchline. I’m also still not sure if we’re supposed to be rooting for Marty or laughing at him. “Cabbie” is a much improved and much more entertaining version from director Donlee Brussel’s 2007 film, and it works with a much more interesting dramatic punch. Especially when we learn what became of Marty in the closing credits. I’d suggest it for festival goers.