Film: Raging Bull

"You punch like you take it up the ass."
Jake LaMotta

Raging Bull is a 1980 film, directed by Martin Scorsese and starring Robert De Niro. It revolves around middleweight boxer Jake LaMotta, a man who is consumed by his anger, paranoia, and shame.

The film begins in 1964, as we see an overweight, aging LaMotta, now a comedian, practicing his routine. The scene changes. It is now 1941, as LaMotta boxes and throws his fights at the behest of the mafia. His brother and manager, Joey LaMotta, does his best to support Jake and get him a chance at success. Jake seduces Vicky, a 15-year-old girl he met at a Bronx public pool. While he catches a break and wins a string of victories, he becomes increasingly paranoid that Vicky is cheating on him, and becomes more and more abusive. Eventually, he accuses his brother of sleeping with his wife and attacks them. The rest of the film details the aftermath in the following years after LaMotta has retired, as he spirals downward ever further.

The boxing fights themselves are notable for their cinematography. Run entirely on the Rule of Drama, they look nothing like actual bouts. One Fight Unscene consists of two still frames: Jake LaMotta with his fist drawn back, and another, him standing triumphant over his downed opponent. Additionally, sponges filled with fake blood were inserted into the boxing gloves, spraying the fighters and the ropes with amounts of fluid previously unseen in a sports movie.

While critical reception was mixed at the time of its release, and it was passed up for Best Picture and Best Director at the Oscars in favor of Ordinary People Raging Bull has since become a critical favorite, and is viewed as one of the best movies of all time. It won De Niro his second Oscar, this time for Best Actor, following his Best Supporting Actor win for The Godfather Part II.

A sequel was long in Development Hell (with LaMotta's involvement), but eventually under the threat of a lawsuit from MGM, the title was changed from Raging Bull II to The Bronx Bull in order to disassociate itself from the original. The film stars William Forsythe as the older Jake LaMotta, Morjean Aria as a young LaMotta, and has a supporting cast including the likes of Joe Mantegna, Tom Sizemore, Penelope Ann Miller, Natasha Henstridge, Alicia Witt, Ray Wise, and James Russo.

This work contains the following tropes:

  • American Dream: It's possible to read the film as a critical examination or even deconstruction of this. Jake achieves the American Dream, he becomes a success, becomes rich, has a beautiful wife and kids and retires to a suburban home and gets out of the ghetto and yet, he still hasn't changed one bit.
  • As the Good Book Says: Right before the end credits, the film displays a quotation from The Gospel of John.
  • Big Brother Bully: Jake to Joey.
  • Bitter Sweet Ending: Jake at the end is shown to have a promising stand-up comedian career, but in the end he's completely ostracized from his wife, kids, and brother, and he pawned off the title he worked so hard to get in order to bail himself out of prison.
  • Book Ends: It starts and ends with Jake preparing for a routine after his retirement.
  • Byronic Hero: Jake.
  • Chiaroscuro: The opening shot, the scene where Jake is training in a steam room, other scenes.
  • Cluster F-Bomb: To say that it was one of the earliest films to have at least 100 usage of the f-words, such as during Joey's Your Mom discussion on the phone, doesn't even begin to describe it.
  • Crazy Jealous Guy: Again, Jake. His jealousy fits often (if not always) came out of nowhere and from the slightest persuasions. In the words of his brother, he's "crackin' up."
    • How crazy is he? His wife mentions off hand that one of his future opponents is "pretty good looking." Jake's response? Give him a No-Holds-Barred Beatdown and specifically breaking his nose so he won't be so pretty anymore.
  • Creator Cameo: Martin Scorsese is the usher in the last scene telling LaMotta it's time to come out.
  • Composite Character: Joey LaMotta is a combination of the real Joey LaMotta and Jake's friend, Pete Petrella.
  • Deliberately Monochrome: The movie is in black and white, except for a sequence of home movies shot in color.
    • Scorsese has stated that he decided to film it this way at least in part because fellow director Michael Powell, who happened to be viewing the initial (color) footage of De Niro as LaMotta with him, pointed out that the gloves De Niro was wearing were the wrong color for the period.
  • Deliberate Values Dissonance: Jake and Joey are just as racist and homophobic as you'd expect the average Italian-American from 1940's New York to be. Joey calls an African-American fighter a "moulie", while Jakes chides Joey by telling him he punches like he "takes it up the ass".
  • The Determinator: "I didn't go down Ray!"
  • Domestic Abuser: Jake. Once he knocked his wife out with one hit, in his brother's residence.
  • Fallen-on-Hard-Times Job: The movie's Framing Device.
  • Fanservice: Vicki's introduction, especially the shot of her legs kicking in the pool.
  • Fatal Flaw: Just as in Greek tragedy, the same trait that brings Jake initial success (his skill in physical violence) is the same one which brings about his downfall (as his impulsive violence against his friends, family and loved ones ultimately results in driving them all away from him).
  • Good News, Bad News: What Tommy Como told Joey about the mafia's support for Jake. He'll get the title shot, but he needs to take a dive first.
  • Good People Have Good Sex: Before Jake's jealousy begins to rear its ugly head, he and Vicki are quite hot for each other, to the point that Jake gets quite close to breaking the "no sex before a fight" guideline.
  • Hair-Trigger Temper: Jake LaMotta.
  • Historical Hero Upgrade: Jake LaMotta, as unbelievable as that may sound. When he watched the film with one of his ex-wives he asked her: "was I really that bad?" She replied "you were worse!" The movie actually omits LaMotta's worse excesses. In his autobiography, he admits to raping a woman and hitting a man with a lead pipe whilst mugging him. LaMotta believed he had killed the man, only to discover years later that his victim survived.
    • It's important to note that the "autobiography" was mostly written by Peter Savage, Jake's friend(and a model for Joey, a composite of Jake's brother, Savage and one other friend) and it was written largely to gain a movie deal and was filled with deliberately sensationalist, over-the-top material.
  • Hit Me, Dammit!: In an earlier scene between Jake and Joey.
  • Homage: The I Coulda Been a Contender monologue from On the Waterfront.
  • Homoerotic Subtext: All over the place.
  • How We Got Here: See Book Ends.
  • Hypocrite: Jake's Crazy Jealous Guy antics over Vicki are made worst when you remember that Jake both cheated on and later left his wife for her. Near the end of the movie he starts making out with various women in his club.
  • Jerkass: Only for about 10-20% of the whole film does Jake not act like a jerk in some way. LaMotta himself has said he never realized what a terrible person he was until he saw the movie. When he asked his ex-wife if he was really that bad, she told him that he was even worse.
  • Lonely at the Top
  • Made of Iron: Jake beats his fists and head against concrete and doesn't come out worse for wear.
    • Possibly justified, as the real life Jake may have had the hardest head in boxing history. The fact that Lightning Bruiser Sugar Ray Robinson couldn't knock him down in real life despite administering a vicious No-Holds-Barred Beatdown, (in a fight that was later dubbed "The Saint Valentine's Day Massacre", no less) says a lot.
    • He does cry out "My hand!" after he's done punching the concrete.
  • No-Holds-Barred Beatdown: The boxing matches, particularly his final match with Sugar Ray Robinson.
    • Joey gives Salvy a pretty good one too.
  • Playing the Heart Strings: The soundtrack.
  • Redemption Quest
  • Red Oni, Blue Oni: Jake is a hothead, Joey is restrained.
  • Sexless Marriage: Jake is an incredibly jealous husband who regularly beats his wife because he suspects she might be interested in other men. He also apparently has no desire to actually have sex with her (which she shows subtle frustration with in one scene). This has, of course, fuelled the Homoerotic Subtext interpretation of his character.
  • Shirtless Scene: It's about a boxer.
  • Splash of Color: LaMotta's home movies.
    • And the title of the film itself in the credit sequence.
  • Title Drop: "The middleweight champion. The big dog. The raging bull..."
  • Vertigo Effect: On Ray Robinson before Robinson finishes destroying LaMotta in Jake's last fight.
  • Your Mom: Joey gets like this when he is (presumably) talking to Sal on the phone, unaware that Jake is on the line instead:
    Joey: You listening? Your mother sucks fucking, big, fucking elephant dicks! You got that?
    • Early on, when replying to his neighbor Larry's complaints, Jake delivers this little gem:
    Jake: Who's an animal? Your mother's an animal! You son of a bitch!