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Martin Scorsese's 1980 film was voted in three polls as the greatest film of the decade, but when he was making it, he seriously wondered if it would ever be released: “We felt like we were making it for ourselves.” Scorsese and De Niro had been reading the autobiography of Jake LaMotta, the middleweight champion whose duels with Sugar Ray Robinson were a legend in the 1940s and '50s. They asked Paul Schrader, who wrote “Taxi Driver,” to do a screenplay. The project languished while Scorsese and De Niro made the ambitious but unfocused musical “New York, New York,” and then languished some more as Scorsese's drug use led to a crisis. De Niro visited his friend in the hospital, threw the book on his bed, and said, “I think we should make this.” And the making of “Raging Bull,” with a screenplay further sculpted by Mardik Martin (“Mean Streets”), became therapy and rebirth for the filmmaker.
The movie won Oscars for De Niro and editor Thelma Schoonmaker, and also was nominated for best picture, director, sound, and supporting actor (Joe Pesci) and actress (Moriarty). It lost for best picture to “Ordinary People,” but time has rendered a different verdict.
For Scorsese, the life of LaMotta was like an illustration of a theme always present in his work, the inability of his characters to trust and relate with women. The engine that drives the LaMotta character in the film is not boxing, but a jealous obsession with his wife, Vickie, and a fear of sexuality. From the time he first sees her, as a girl of 15, LaMotta is mesmerized by the cool, distant blond goddess, who seems so much older than her age, and in many shots seems taller and even stronger than the boxer.
Although there is no direct evidence in the film that she has ever cheated on him, she is a woman who at 15 was already on friendly terms with mobsters, who knew the score, whose level gaze, directed at LaMotta during their first date, shows a woman completely confident as she waits for Jake to awkwardly make his moves. It is remarkable that Moriarty, herself 19, had the presence to so convincingly portray the later stages of a woman in a bad marriage.
Jake has an ambivalence toward women that Freud famously named the “Madonna-whore complex.” For LaMotta, women are unapproachable, virginal ideals--until they are sullied by physical contact (with him), after which they become suspect. During the film he tortures himself with fantasies that Vickie is cheating on him. Every word, every glance, is twisted by his scrutiny. He never catches her, but he beats her as if he had; his suspicion is proof of her guilt.
It is a vicious circle. Freud called it the 'madonna-whore complex.' Groucho Marx put it somewhat differently: 'I wouldn't belong to any club that would have me as a member.' It amounts to a man having such low self-esteem that he (a) cannot respect a woman who would sleep with him, and (b) is convinced that, given the choice, she would rather be sleeping with someone else. I'm making a point of the way 'Raging Bull' equates sexuality and violence because one of the criticisms of this movie is that we never really get to know the central character. I don't agree with that. I think Scorsese and Robert De Niro do a fearless job of showing us the precise feelings of their central character, the former boxing champion Jake LaMotta. Betway casino review.
It is true that the character never tells us what he's feeling, that he is not introspective, that his dialogue is mostly limited to expressions of desire, fear, hatred, and jealousy. But these very limitations -- these stone walls separating the character from the world of ordinary feelings -- tell us all we need to know, especially when they're reflected back at him by the other people in his life. Especially his brother and his wife, Vickie.
'Raging Bull' is based, we are told, on the life of LaMotta, who came out of the slums of the Bronx to become middleweight champion in the 1940s, who made and squandered millions of dollars, who became a pathetic stand-up comedian, and finally spent time in a prison for corrupting the morals of an underage girl. Is this the real LaMotta? We cannot know for sure, though LaMotta was closely involved with the production. What's perhaps more to the point is that Scorsese and his principal collaborators, actor Robert De Niro and screenwriter Paul Schrader, were attracted to this material. All three seem fascinated by the lives of tortured, violent, guilt-ridden characters; their previous three-way collaboration was the movie 'Taxi Driver.'
Raging Bull Movie Review
Scorsese's very first film, 'Who's That Knocking at My Door?' (1968), starred Harvey Keitel as a kid from Little Italy who fell in love with a girl but could not handle the facts of her previous sexual experience. America online casino. In its sequel, 'Mean Streets' (1973), the same hang-up was explored, as it was in 'Taxi Driver,' where the De Niro character's madonna-whore complex tortured him in sick relationships with an inaccessible, icy blonde, and with a young prostitute. Now the filmmakers have returned to the same ground, in a film deliberately intended to strip away everything but the raw surges of guilt, jealousy, and rage coursing through LaMotta's extremely limited imagination.