He isn't nervous that you did it, he's nervous why you won't admit it

Rating: 10/10 (31 March 2012)

After watching Rocky a few months ago, I doubted that I'd ever see a boxing film that would live up to or surpass its status. It was a trend-starter of a film, that didn't follow a blueprint, but accidentally formed one, that would become carbon-copied and mimicked like Jaws did for shark films. Then along came Raging Bull, a film by the almighty Scorsese. This marks the fifth film of his that I have awarded a perfect score, and the fifth film I've reviewed of his as well.
Why do I idolize Scorsese? I find him to be a rare treasure in film. His ability to tackle any story, from a paranoid boxer, to the underground mobsters, to gambling tycoons, to the inter-workings of an Irish gang, to an amazing aviator-turned germaphobe, Scorsese can do it. And make it a work of incorruptible, undeniable art. He is often taken for granted, and not appreciated like he should be. Whether people like to admit it or not, he revolutionized cinema, and will continue to do it for many, many more years.
Raging Bull was De Niro's plea to Scorsese to stop using cocaine, and to direct the film he wanted to for years. Scorsese has gone on record saying that De Niro practically saved his life, persuading, if not forcing, him to make the film. Scorsese has stated that Raging Bull was "kamikaze style filmmaking," because originally, he never thought he'd make another film. That all changed when the film was met with acclaim from audiences and critics around the country, and three amazing talents, De Niro, Pesci, and Scorsese, were born.
The film follows middleweight boxer Jake LaMotta (De Niro), a violent, insecure man who has become obsessed with not only the sport and art of boxing, but controlling everything in his life. He marries a young women named Vicky (Moriarty), and is coached and assisted greatly by his brother Joe (Pesci). Upon marrying Vicky is when Jake's real insecurity and paranoia unfolds. He is constantly fearing that Vicky is seeing other men behind his back. One day, she comments that the boxer Jake's about to fight is a young, limber, good-looking guy who might get the best of him. Before Jake can even consider the other two facts, he stops and lectures her and asks why she calls him "good-looking." When it comes to fighting the guy, Jake assures he'll never be called good-looking by anyone for a long time.
Main writer Paul Schrader, who also worked on other Scorsese films such as The Last Temptation of Christ and Taxi Driver, does a brilliant job of giving these characters, not only descriptions and stories, but long, healthy monologues that never become routine or laborious. My personal favorite scene is when both Jake and Joe are discussing personal matters while one is trying to fix the Television. The scene goes on for over four minutes, but the dialog is crisp and nothing shy of gripping. This scene is crucial to the plot because it shows Jake's insecurity consuming him and virtually eating him alive. Who can you trust when everyone looks like an enemy? The film is heavily stylistic as well, probably Scorsese's most to date. If anything should be praised, it's the experimental shots Scorsese uses. There are tracking shots that show depth and space, sometimes distorting it, like during the fight scenes, a delightful and rare coherency to the relentless and bloody combat sequences, that are gritty and brutally realistic, and the high contrast black and white further evokes depression and melancholy emotions to the film.
This is a beautifully made film in every sense of the word. It's a deep, involving character study on a character we can't stand to look at sometimes. The third act focuses on where LaMotta's nervousness and insecurity got him in life; an ungrateful, cocky, intolerable, narcissistic brute that feels entitled to anything and everything. Yet again, this is a story from Scorsese about short lived glory. Where a man's inner demons and personal conflicts further bog him down to where he becomes unable to function normally. We've seen it before, but every time we do, it seems as if it is told in a richer, more complex way.
With all this talk of style, emotion, characteristics, and backstory, let's not forget about another very important element; the rich performances. De Niro is superb, showing passion, charisma, and dedication - all the traits which have lead him to be called "one of the greatest actors of all time." Pesci shows great control whenever he's on screen, also brewing his trademark animalistic behavior that has made him instantly recognizable and the subject of many peoples' praise. But let's not forget some side characters that have, over the years, gotten the cold shoulder. Frank Vincent, one of Scorsese's regulars, plays Sal, one of Joe's local connections with the mob in New York. Vincent has been in both Casino and Goodfellas as a supporting character and has never drummed up acclaim of his own. Here, he is spot on perfection, and somewhat underdeveloped and underutilized.
Another performance that hasn't garnered enough fame is Cathy Moriarty as De Niro's wife. She is in a harsh position, like most women in Scorsese's films. She is strong, capable, and commendable in her efforts to break free of never-ending torment and fear caused by her husband.
Raging Bull is absolutely extraordinary filmmaking, from a director that was hesitant about creating the film in the first place. I'm sure he never thought the film would amount to much, but it has already earned a spot on the National Film Registry, two Oscars, and a place on AFI's list of best films. I'd say it was a worthy gamble, and a lifesaver on Scorsese's part.
Starring: Robert De Niro, Cathy Moriarty, Joe Pesci, and Frank Vincent. Directed by: Martin Scorsese.