Good, but not great

Rating: 7/10 (27 January 2019)

Martin Scorsese's picture Raging Bull is a compelling film blending the raw yet intricate talents of both Scorsese and Robert De Niro. An excellent example of Scorsese's favorite topics, Raging Bull follows championship boxer Jake La Motta on his obsessive mission to be the greatest. This journey is well portrayed in what may be the least glamorous depiction Scorsese has used. In his later films, such as Goodfellas and Wolf of Wall Street, Scorsese has a tendency to somehow romanticize morally reprehensible characters. In this 1980 movie, however, this is notably absent.
La Motta is depicted with an undeniable honesty, with the performance of De Niro to thank for that. This "salt of the Earth" character instead comes across as one who has salted the Earth on a self-destructive tear through life that leaves a sizable wake of destruction. The film opens with an aged La Motta preparing for a stage performance. The rest of the film proceeds through a flashback of sorts through his younger days, as a boxer and as an all-around disagreeable human being.
Between scenes of boxing matches with different outcomes, such as fixed or thrown fights, we see La Motta's questionable-at-best lifestyle on display. From actively pursuing a fifteen-year-old girl, to his paranoia and instability leading to domestic violence and family destruction. In the end, La Motta has not learned to accept responsibility, and continues to blame others for his fate.
The film closes with a quote, "All I know is this: Once I was blind, and now I can see." This can be viewed as a call to forgive and redeem La Motta. However, it also brings to question whether he could be redeemed at all. Raging Bull is notable for its brutal honesty regarding the negative details of Jake La Motta's life. In the end, it appears as though he has learned the minimal amount about himself and his actions to be able to sleep at night. Ultimately, his character behaves inexcusably. All have their reasons, but it is unsavory to only seek redemption at the bottom of life without fully accepting blame.
Furthermore, the question of redemption for the film itself is raised. Stylistically, this movie has many interesting choices. Immediately, the choice of black and white cinematography is striking. It helps immerse the viewer in the 1960s boxing world, as though one were watching footage of the fights themselves. However, as the film goes on, it serves to only amplify the lack of vibrancy in story. The dialogue comes across very natural and unscripted. Again, this begins as an endearing element, however throughout the movie causes interest to wander.
Fans of Scorsese's other work may find it difficult to appreciate Raging Bull. Arguments of morality aside, Scorsese has a way to make abhorrent characters somewhat likeable throughout a movie. The lack of this darkly comedic touch makes this movie less compelling than others by this talented filmmaker. Furthermore, Scorsese's trademark voice-over narration is absent. These voice-overs help engage the audience, giving further insight into the protagonist's thoughts and motives. Without this unifying element, there are points in the movie where the relevance of the scene is simply unclear.
Despite this, it is still an excellent film worth viewing. Using a recognizable cast of actors, Scorsese once again crafts a story of violence, immorality, and crime. The audience is forced to question if and how they relate to these characters, and why. And if not, what is so compelling about watching such destruction? Robert De Niro, Joe Pesci, and Frank Vincent, among others, serve as pillars in Scorsese's projects, and he shows that he knows how to direct these actors for their best performance.