De Niro is always absorbing and credible, even when his character isn't.

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.

The film is bookmarked by scenes in which the older Jake LaMotta, balding and overweight, makes a living giving “readings,” running a nightclub, even emceeing at a Manhattan strip club. It was De Niro's idea to interrupt the filming while he put on weight for these scenes, in which his belly hangs over his belt. The closing passages include Jake's crisis of pure despair, in which he punches the walls of his Miami jail cell, crying out, “Why! Why! Why!”

"Raging Bull" ultimately has a numbing effect on the brain as if one's head had been pummeled by La Motta's so-called "girlish" fists.

In the apartment's dining room, where two religious Madonna paintings hang on the wall, Jake points out the bird's cage as they pass through:

A private detective hired to expose an adulterer finds himself caught up in a web of deceit, corruption and murder.

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Cieszymy się, że Ty też masz łeb pełen filmów i chcesz podzielić się swoją wiedzą z innymi.Niniejsza strona została utworzona dzięki takim jak Ty! Najwięcej treści dodali:

The oval photograph that dominates the middle of the frame comes between them. [It is symbolic of how the relationship of the two brothers (who fight and play at boxing) will interrupt their emotional relationship]:

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.

Rocky Balboa, a small-time boxer, gets a supremely rare chance to fight the heavy-weight champion, Apollo Creed, in a bout in which he strives to go the distance for his self-respect.

So, for the second time, [the Pharisees] summoned the man who had been blind and said: "Speak the truth before God. We know this fellow is a sinner." "Whether or not he is a sinner, I do not know," the man replied. "All I know is this: Once I was blind and now I can see." John IX. 24–26, The New English Bible

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He kisses her gently on the cheek and lips and tenderly strokes her neck. As he takes her toward the bed for love-making, the camera remains fixed on the photograph.

[Although the eight fight scenes seem to occupy much of the film, their screen time totals only ten minutes, but they took about six weeks to film. Even more time was necessary to edit the dozens of shots that make up each match. The domestic fighting and other battles in La Motta's personal life compose the remainder of the film.]

This message came to me from a reader named Peter Svensland. He and a fr...

Learning that Joey only took her out a few times, Jake turns his attention toward Salvy and his friends. He jealously watches them and mutters that they must be trying to impress her - his erotic object of desire. His passionate feelings for her quickly turn violent toward her male admirers. Jake remarks that "tough guys" aren't so tough without their guns:

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.

White letters on a black background, a title card reads: New York City 1964

The rest of the film is a flashback - a look back at the middle-aged man's life to try to understand why he is reciting lines in his dressing room. The final words of the monologue: "That's entertainment," are sharply juxtaposed with the next scene - a closeup of young boxer La Motta receiving several rapid punches to the jaw in a different performing art, the sport of boxing.

Raging Bull was nominated for eight Academy Awards (including Best Picture, Director, Actor, Supporting Actress, Supporting Actor, Cinematography, Sound (Donald O. Mitchell, Bill Nicholson, David J. Kimball and Les Lazarowitz), and Editing) at the 1980 Academy Awards.[35][37][38] The film won two awards: Best Actor, for De Niro, and Best Film Editing.[35]

Joey: They only came up here because Tommy told 'em to come up and try to help us. Jake Whatsa matter with you? Help who? Whatsa matter with you?...Help me by takin' my money? Is that what you're talkin' about - takin' my money? I'm here breakin' my ass, not them. Don't ever bring 'em up here again, ya hear me?

Remembering Haig P. Manoogian, teacher. May 23, 1916 – May 26, 1980. With Love and resolution, Marty.

You know how beautiful you are? Anybody ever tell you how beautiful? Yeah, (they) tell you all the time.

The fights are broken down into dozens of shots, edited by Schoonmaker into duels consisting not of strategy, but simply of punishing blows. The camera is sometimes only inches from the fists; Scorsese broke the rules of boxing pictures by staying inside the ring, and by freely changing its shape and size to suit his needs--sometimes it's claustrophobic, sometimes unnaturally elongated.

Raging Bull is a fascinating exploration of the mind of an emotionally disconnected man. It's brutal, crass and impossible to look away -- much like a real boxing match.

Title card: THE BRONX New York City 1941 On the city street's sidewalk, Joey and Salvy (Frank Vincent), a small-time Mafia lieutenant, walk toward Jake's apartment while discussing the Reeves fight. Salvy claims that hard-headed Jake, a product of the Bronx slums, must cooperate and let mobster Tommy Como (Nicholas Colasanto - who also acted as Ernie 'Coach' Pantusso in the Cheers TV-sitcom series (1982-1985)) control his boxing career:

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A criminal pleads insanity after getting into trouble again and once in the mental institution rebels against the oppressive nurse and rallies up the scared patients.

The Los Angeles Film Critics Association voted Raging Bull the best film of 1980 and best actor for De Niro. The National Board of Review also voted best actor for De Niro and best supporting actor to Pesci. The Golden Globes awarded another Best Actor award to De Niro and the National Society of Film Critics gave Best Cinematography to Chapman. The Berlin International Film Festival chose Raging Bull to open the festival in 1981.[35]

During the Vietnam War, Captain Willard is sent on a dangerous mission into Cambodia to assassinate a renegade colonel who has set himself up as a god among a local tribe.

Consumed by rage after his wife, Vickie, unwisely describes one of his opponents as “good-looking,” he pounds the man's face into a pulp, and in the audience a Mafia boss leans over to his lieutenant and observes, “He ain't pretty no more.” After the punishment has been delivered, Jake (Robert De Niro) looks not at his opponent, but into the eyes of his wife (Cathy Moriarty), who gets the message.

Raging Bull (1980)

An in-depth examination of the ways in which the U.S. Vietnam War impacts and disrupts the lives of people in a small industrial town in Pennsylvania.

[There are eight boxing match scenes in the film.]

This savagely authentic film about flawed masculinity is worth seeking out for another viewing if the summer's toothless blockbuster fodder is getting you down.

Without chaining itself to every point of fact, Raging Bull stays true to the spirit of Jake LaMotta's story, and adds extraordinary depth and resonance.

The camera pans down a sign outside the Barbizon Plaza Theatre: "An Evening With Jake La Motta Tonight 8:30." In voice-over, Jake La Motta speaks, as the film cuts to La Motta, alone in his dressing room where he rehearses for his nightclub appearance reciting bits of Shakespearean tragedy, wearing a tuxedo and open shirt. His fantasy of disrobing in the ring presents the film's recurrent theme of sexual anxiety, fear, and confusion:

The film cuts to black with the following Biblical quote filling the screen:

Um estudo psicológico brutal sobre um homem dominado pelo ciúme, a insegurança e a paranóia e que traz, além da direção inspirada e expressiva de Scorsese, três atuações formidáveis por parte de De Niro, Pesci e Moriarty.