![]() Italian milieu of the former and shows it creating psychotic De Niro of the latter. Scorsese here blends the work of screenwriters of “Mean Streets” and “Taxi Driver,” Mardik Martin and Paul Schrader, into a film which takes the emotionally tangled N.Y. This bravura tendency makes the boxing scenes so viscerally intense that the viewer will be almost reeling, but Scorsese unfortunately shoots every other kind of scene as it’s a boxing match too. Robert De Niro famously gained weight to play the out of shape La Motta of later years.īoxing drama Body and Soul (1947) and Stanley Kubrick’s early documentary Day of the Fight (1951) are among the films that influenced Raging Bull.As in other Scorsese pix, the director excels at whipping up an emotional storm but seems unaware that there is any need for quieter, more introspective moments in drama. The sequences between the ropes are extraordinarily immediate, with Michael Chapman’s mobile black and white cinematography closely attending every blow, and Thelma Schoonmaker’s editing brutally precise and dynamic. ![]() Through flashbacks we witness the dramas of his time in the ring, his abusive marriages, and his turbulent relationship with his brother and manager Joey (Joe Pesci). ![]() ![]() Adapted from La Motta’s memoirs by Paul Schrader and Mardik Martin, the film opens in the early 1960s with an overweight La Motta practising his post-boxing cabaret routine. Scorsese’s biographical portrait of the 1940s boxing champion Jake La Motta is a study of seething male aggression to rank alongside his 1976 film Taxi Driver. “Raging Bull is the most painful and heart-rending portrait of jealousy in the cinema – an Othello for our times. ![]()
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