Taxi lacks the subtle commentary of Saura's previous films under Franco like Los Golfos (1960). Without censorship, Suara has attempted to directly portray the real violence in Madrid during this time period but the result is somewhat contrived and the addition of the love story moves the focus away from what might have otherwise been an important commentary. Between the blatant violence and predictable love story, something is lost and the audience fails to connect the horror and overt symbolism to something meaningful. The obviousness of the subject demands a presentation of a solution or at least the implication of one, however, all that is given to us is the overt symbolism of the protagonist Paz who disapproves of violence. At the culmination of the film in which Paz and Dani reunite does not address problems presented but simply suggests that peace is good, violence is bad and that love overcomes everything, including Neonazism.
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