Review of Raging Bull (1980) by Ryan S — 27 Jan 2019

Martin Scorseseâ(TM)s 1980 film âRaging Bullâ? tells the semi-biographical story of 1940â(TM)s Italian-American boxer Jake LaMotta. Robert De Niro, who faithfully depicts LaMotta, was initially inspired to make the film after reading the boxerâ(TM)s autobiography. Scorsese took a passive interest in the script, but continued to work on other films he deemed more pressing. However, upon Scorseseâ(TM)s hospitalization from heavy drug use, De Niro attempted one last time to convince his long time friend of the narrative he saw buried within LaMottaâ(TM)s life story.

Scorsese, now battling his own demons, finally realized the scale and gravity of De Niroâ(TM)s vision, and perhaps saw some similarities between his personal life and the tumultuous life of LaMotta as depicted in Madrik Martinâ(TM)s initial screenplay. Producers Robert Chartoff and Iwrin Winkler agreed to aid in the films production, continent upon Scorsese directing the film. Despite having shied away from sports his entire life, Scorsese began to see LaMottaâ(TM)s struggles in the ring as potential allegories for manâ(TM)s personal conflicts. Paul Schrader was eventually brought in to rewrite the script, after which De Niro and Scorsese continued to trim the final script while isolated on the island of Saint Martin.

Despite being a boxing movie, many of the filmâ(TM)s most climactic moments happen outside of the ring. âRaging Bullâ? tells the story of a man driven mad by his own insecurity. In real life, LaMotta was given the nickname âThe Bronx Bullâ? due to his unrelenting fighting style which he used to overpower opponents. In the context of the film however, the term âRaging Bullâ? begins to represent LaMottaâ(TM)s self-destructive behavior as a result of his inability to trust those around him. Like many of Scorseseâ(TM)s films, much of the dialogue stems from the male protagonistâ(TM)s inability to trust women. However, in âRaging Bullâ? this theme transforms from a trope to the main source of conflict within the film. LaMottaâ(TM)s destructive actions are almost entirely spurred on by his self-actualizing fantasy that his wife, Vickie, is cheating on him. As the plot unfolds, LaMotta convinces himself that his wife has been unfaithful, allowing his accusations alone to serve as proof. De Niroâ(TM)s method acting benefits the script tremendously, allowing the viewer to peak inside the mind of someone wholly consumed by their owned fears.

Lamottaâ(TM)s wife Vickie is portrayed by Cathy Moriarty, who, despite being only 19 at the time of filming, flawlessly portrays a woman stuck in a terrible marriage. Early in the film, Vickie serves as a manifestation of LaMottaâ(TM)s sexual desire. As the film progresses however, this desire transforms into compulsive obsession. De Niroâ(TM)s character continually projects his shallow vision of women unto his wife Vickie, who stands tall in spite of this and refuses to indulge her husbandâ(TM)s inferiority.

Joe Pesci serves as the main supporting actor, depicting Jakeâ(TM)s older brother Joey. The many scenes of dialogue between Joey and Jake help reinforce the feeling of paranoia that begins to overtake the film. Pesci contributes tremendously by offsetting Jakeâ(TM)s headstrong attitude with rational and heartfelt counterpoints. Despite this, Pesciâ(TM)s character eventually cracks under the weight of his brotherâ(TM)s insecurity, marking the end of Lamottaâ(TM)s last genuine relationship in the film.

âRaging Bullâ? was edited by Thelma Schoonmaker, who won an Oscar for her work on the film. In my opinion, some of the movieâ(TM)s most impressive moments can be attributed to Schoonmakerâ(TM)s editing. The boxing scenes in particular are claustrophobic and brutally violent, and Schoonmakerâ(TM)s technical editing style makes other boxing films of the time look mild. In particular, the almost stop-motion depiction of Lamottaâ(TM)s knock out of Sugar Ray presents a stark visual contrast between Lamottaâ(TM)s boxing and personal life. This effect is further aided by Frank Warner, whose sound design during fights scenes utilized various animal screeches to emphasize the brutish and raw nature of Lamottaâ(TM)s fighting style. Additionally, Schoonmaker often deploys a slight slow-motion effect. At the beginning of the film, this slow motion effect serves as a visual representation of Jakeâ(TM)s fetishization of Vickie as a âpureâ? women. However, in the latter half of the film, the slow-mo conveys a sense of heightened paranoia, especially during Lamottaâ(TM)s abusive outbursts towards Vickie.

Both the beginning and the end of the film show a middle aged La Motta, now pacing through life aimlessly after pushing away his loved ones. The boxerâ(TM)s fighting style within the ring echo his self-destructive way of thinking, but the physical damage he endures as a boxer pale in comparison to the mental trauma he forces himself to endure. Scorseseâ(TM)s masterpiece feels almost like a documentary, in part, I believe, because the story resonated so deeply with the director during his low point. Raging Bull is not an easy film to watch. Scorceseâ(TM)s depictions of domestic abuse and the more subtle signs of a toxic relationship will undoubtedly unsettle many viewers. However, it stands to this day as possibly the most accurate depiction of manâ(TM)s crippling insecurity and the self-destructive habits that can stem from that insecurity.