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Martin Scorsese
Robert De Niro, Joe Pesce, Cathy Moriarty
Mardik Martin, Paul Schrader
The life of boxer Jake LaMotta, whose violence and temper that led him to the top in the ring destroyed his life outside of it.
Rated R.

Aspect Ratio: 1.85:1
English DTS-HD MA 2.0
Supplements Subtitles:

Runtime: 129 min.
Price: $39.95
Release Date: 7/12/2022

• Audio Commentary with Director Martin Scorsese and Editor Thelma Schoonmaker
• Audio Commentary with Producers Irwin Winkler and Robert Chartoff, Director of Photography Michael Chapman, Casting Director Cis Corman, Sound Designer Frank Warner, Music Supervisor Robbie Robertson and Actors Theresa Saldana and John Turturro
• Audio Commentary with Jake La Motta and Writers Mardik Martin and Paul Schrader
• 2 Video Essays
• “Fight Night” 4-Part Documentary
• “Martin Scorsese and Robert De Niro” Featurettes
• “Jake La Motta” Featurettes
• “Cathy Moriarty and Vikki La Motta” Featurette
• Trailer
• Booklet


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Raging Bull: Criterion Collection [Blu-Ray] (1980)

Reviewed by Colin Jacobson (July 6, 2022)

Over the years, I’ve revisited 1980’s Raging Bull a number of times. When I first saw it in the 1980s, I thought it was good but it didn’t deserve the immense praise it’s received over the years.

Now that I've watched it another four or five times after its initial release, I can’t say that my thoughts have changed. While Raging Bull clearly delivers a very well made and effective film, it still really doesn't do much for me.

Raging Bull resembles Taxi Driver - another flick from director Martin Scorsese - in that both films basically offer character studies. Neither offer much of a plot because that wasn't the point.

Instead, they focused on giving us a living portrait of individuals. However, Travis Bickle in Taxi Driver provided a much more interesting study, as Bull’s pro boxer Jake La Motta (Robert De Niro) simply doesn’t display the same level of intrigue.

As he does in Taxi Driver, Scorsese does not offer any attempt at historical context for La Motta. By that I mean that we see both La Motta and Bickle as fully formed - and pretty screwed up – men, so we don't receive any information about how they came to be who they were.

Bickle's more obviously mentally debilitated than La Motta, but this doesn't mean that Jake's not pretty bad off as well. He spends the entire movie trying to decide who he hates the most: himself or everyone else.

Bickle is a study in self-hatred as well, and both men frequently project their negativity outward by seeing the world as a filthy, horrible place. The main difference is that Bickle's world really was pretty seedy, whereas La Motta is more of a tragic figure. He literally had it all but he blew it because he couldn't cope with the demons that haunted him.

De Niro does an excellent job of fully portraying La Motta. At this point, much of his recognition for the part comes from his willingness to gain or shed weight for it.

It's like the time that Nicolas Cage actually ate a cockroach for the flick Vampire’s Kiss: people focus so much on the physical elements that they ignore the rest of the performance. Unfortunately, that notoriety overshadows what is a masterful, full-blooded portrait of a man in constant pain.

Admittedly, we rarely get much insight into Jake's thought processes. However, that's really how it should be since it doesn't appear that La Motta was much of an introspective intellect.

I doubt he spent a whole lot of time exploring his "inner self”, and that extreme lack of self-awareness comes through clearly in De Niro's performance. Jake doesn't act: he reacts, and he torments himself for the consequences later, such as in the scene where he beats his bare fists against a concrete wall and repeatedly cries "why?!"

La Motta obviously doesn't want to behave the way he does, but he lacks the simplest concept of how to change. By the end of the film, he's left as a faded shadow of himself.

In addition to De Niro, Joe Pesci and Cathy Moriarty round out the main cast as Jake's brother Joey and wife Vicki, respectively. Both seem very solid but wind up overshadowed by De Niro, something that was probably inevitable.

Both characters suffer through most of the flick, although both also abandon Jake when his abuse gets to be too much. Joey's a somewhat more believable character just because he has lifelong ties to Jake so it makes more sense for him to continue to take the abuse for such a long time.

Obviously, many women stay in destructive relationships as well, but it's harder to understand why Vicki sticks around as long as she does because we never see much indication about what enticed her into the relationship in the first place. There's very little depiction of the "good times" so we never really understand why she got involved with Jake at all.

I also had a hard time believing Moriarty as a 15-year-old, but that's just because I don't think she ever looked younger than 30. Moriarty was only 19 when the movie was shot, but she appears at least a decade older. She must've popped from the womb full-formed!

In the end, Raging Bull is more a movie that I respect than one I enjoy. This has nothing to do with the fact that it's somber and a "downer", as I love plenty of films that not only don't end happily, but also offer virtually no joy along the way.

No, there's just something about Raging Bull that turns me off. It's a tremendously well-constructed and executed picture, but it lacks a certain spark that might otherwise involve me in the story.

The Disc Grades: Picture A-/ Audio B/ Bonus A

Raging Bull appears in an aspect ratio of approximately 1.85:1 on this Blu-ray Disc. This turns into a highly satisfying image.

Almost no concerns connected to definition occurred. A few wide shots demonstrated a little softness, but that was it. The rest of the time the movie looked distinctive and crisp.

I saw no issues with jagged edges or moiré effects, and edge haloes remained absent. Grain seemed natural, and print flaws failed to appear.

Contrast was strong, with solid distinction in the black and white tones. The dark elements were firm and rich, while shadows seemed clear and well-defined. Across the board, this became a fine presentation.

As for the DTS-HD MA 2.0 soundtrack of Raging Bull, it gave us a largely restrained affair. The soundfield stayed oriented toward the front and usually emphasized general ambience.

Various elements from the environment popped up on the sides. For example, when Jake would get violent with a loved one, we might hear him break items in the right or left speakers. Music showed fairly good stereo presence as well.

Surrounds usage became generally limited to the fights. Those featured the crowds in the back speakers as well as the dramatic slowed-down sounds that accentuated the animalism of La Motta’s battles.

The soundfield didn’t present a lot of information, but honestly, that was probably a good thing. Frankly, I’d have preferred a mono mix, as that would match the movie’s period feeling.

Audio quality was good. Speech occasionally suffered from a little edginess, but the lines usually sounded acceptably concise and clear.

Effects were also tight and reasonably accurate, with a bit of low-end for some of the dramatically accentuated fight sounds. Music stayed in the background and didn’t play much of a role, but the score was fairly smooth.

There wasn’t a whole lot to the mix. That meant I felt it merited a “B” as a fine but unexceptional piece from 1980.

How did the Criterion Blu-ray compare to the original Blu-ray? Though the older release included a 5.1 mix, it didn’t seem substantially different from the 2.0 track here, so expect them to come across as pretty similar.

The Criterion Blu-ray offered considerable improvements over the earlier disc, though, mainly because the latter suffered from a lot of print flaws that the 2022 disc eliminated. This turned into a substantial upgrade.

The Criterion release mixes old and new extras, and we start with three separate audio commentaries. The first features director Martin Scorsese and editor Thelma Schoonmaker, both of whom provided separate running, screen-specific tracks that were edited together.

The pair cover a wide mix of topics, as we learn about Scorsese’s initial interest in the project and its development as well as a little about Schoonmaker’s early career. In addition, we get notes about casting, locations and shooting challenges, editing and problems encountered during improvised sequences, musical choices, the movie’s visual style and use of slow-motion, the decision to go with black and white, and other production issues.

I can’t quibble with the material discussed, as both Scorsese and Schoonmaker help broaden our understanding of the film. My main problem with the commentary stems from the preponderance of dead air.

Quite a few gaps occur, and these make the track move slowly much of the time. It’s still a generally interesting piece, but it’s not a great one.

For the second commentary, we hear from producers Irwin Winkler and Robert Chartoff, director of photography Michael Chapman, casting director Cis Corman, sound designer Frank Warner, music supervisor Robbie Robertson and actors Theresa Saldana and John Turturro. All of them were recorded separately for this edited commentary.

You can probably figure out what subjects they discuss based on their job descriptions. We get a nice overview of many different topics.

The issues include casting and working with the actors, getting financial support for the film and nursing it to completion, the use of black and white photography and its challenges, other visual concerns, selecting and recording the music, and creating the audio. Unlike the Scorsese/Schoonmaker track, this one suffers from virtually no downtime.

The track cranks along from start to finish and gets into a mix of useful topics. A little material repeats from the earlier piece, but most of it’s fresh, and this becomes a lively and very informative chat.

Lastly, the final commentary includes remarks from Jake La Motta and screenwriters Mardik Martin and Paul Schrader. As with the prior tracks, the various participants sat separately and had their notes edited together.

For his portions, La Motta chats with his nephew, Jason Lustig. Lustig doesn’t really participate as more than an interviewer, though, so I didn’t include him as a featured participant in the commentary.

As one might expect, La Motta mostly focuses on the facts of his life. He discusses the various elements that show up in the movie and embellishes on many of these.

La Motta most strongly comes to life when he talks about his fights; he seems more evasive when he gets into parts of his personal life, though he still opens up with some of those tales. Actually, he enters “too much information” territory at times.

For instance, when La Motta talks about pounding his fists and head against the wall, he says it turned him on and made him orgasmic. I’m not sure if he’s joking, but it’s a creepy thought anyway. La Motta even performs the monologue from On the Waterfront along with De Niro at the movie’s end!

The writers deal more with how they created the script, so we get notes about Martin’s initial work and the refinement Schrader did. We find a lot more from Martin than from Schrader, as the latter pops up pretty infrequently.

Both men present useful comments, though. I especially like Martin’s discussion of improvisation and the loose way some folks throw around the term. Overall, all three parties involved with the commentary help make it consistently involving and informative.

Two Visual Essays follow. “Pour Everything In” (25:23) features critic/poet Geoffrey O’Brien, and “Gloves Off” (17:51) involves critic Sheila O’Malley.

O’Brien offers an interpretation of Bull’s cinematic techniques, whereas O’Malley more heavily focuses on actors/performances/characters. Both offer useful insights.

Found on the prior release, Fight Night delivers a four-part documentary. “Before the Fight” (25:52) features Chartoff, Winkler, Scorsese, Martin, Schrader, and actors Robert De Niro, Cathy Moriarty-Gentile, Frank Vincent and Joe Pesci.

They discuss the roots of the project and De Niro’s interest in it, the development of Bull and Scorsese’s reluctance to take on the flick, writing the screenplay and research, revisions to the script, obtaining financing and dealing with the studio, and casting and approaches to the roles.

Inevitably, “Before” repeats a moderate amount of information from the commentaries. Since those tracks covered more than six hours, this doesn’t come as a surprise.

We do find a reasonable amount of new material here, at least, as we learn various perspectives and thoughts that don’t pop up elsewhere. The addition of the actors helps evoke concepts not apparent previously. “Before” provides a nice take on the issues related to the film’s pre-production.

For the next segment, we get the 14-minute, 36-second “Inside the Ring” It includes remarks from Scorsese, Pesci, Chapman, Schoonmaker, and De Niro. This program looks into the depiction of the boxing sequences. It goes into Scorsese’s research, the decision to shoot in black and white, fight choreography and storyboards, shooting the boxing matches, and attempts at verisimilitude in these sequences.

Again, a fair amount of repeated material pops up during “Inside”, so don’t expect a slew of revelations. However, the addition of various visuals helps make this a good program.

I like the ability to see elements like storyboards and behind the scenes shots, as those allow us to better comprehend the various techniques. Schoonmaker’s discussion of the different styles for the fights works especially well, largely because the use of visuals breaks down the sequences for us better than in the commentaries.

Called “Outside the Ring”, the third section runs 27 minutes, 16 seconds as it features statements from Scorsese, Winkler, Pesci, Schoonmaker, De Niro, Moriarty-Gentile, Chapman, Vincent, and Chartoff. It covers shooting the non-boxing sequences, improvisation, symbolism, the home movies, De Niro’s weight gain, the film’s structure, and the film’s dedication.

“Outside” doesn’t offer a whole lot of new information. It creates a good look at its subject, but not one that offers a lot of revelations if you’ve listened to the commentaries. Nonetheless, a few useful perspectives appear, and it delivers an interesting compilation of notes.

Next comes “After the Fight”, a 15-minute, 14-second program. In it, we hear from Scorsese, Schoonmaker, Pesci, De Niro, Warner, Winkler and Chartoff. The show gets into sound design, music and mixing, reviews and reactions to the final flick, and general thoughts about its place in the participants’ careers.

As with its predecessors, “After” proves entertaining but not especially informative if you’ve heard the commentaries. It goes over the same material in an abbreviated manner. Of the different featurettes, it probably includes the least amount of unique material, though it remains well-constructed.

Under Martin Scorsese and Robert De Niro, three components appear. “Marty and Bobby” goes for 13 minutes, 25 seconds and provides statements from De Niro, Scorsese, and Winkler.

The piece looks at the relationship between De Niro and Scorsese as well as aspects of their collaborations over the years, with as emphasis on Bull. Some good elements appear, but after so much other info about the film, this one lacks much to make it special.

It should’ve concentrated more heavily on the connection between De Niro and Scorsese. Instead, it’s essentially just another quick look at the movie’s production.

“Marty on Film” fills 10 minutes, 21 seconds as Scorsese chats about his early interest in movies as well as the state of the industry and various aspects of his work. Scorsese’s comments tend to be all over the place, but he makes this a pretty interesting piece.

From 1980, “Robert De Niro on Acting” spans 14 minutes, 42 seconds and offers audio clips from a 1980 AFI seminar. Here De Niro discusses his approach to his craft, with some emphasis on Bull.

Traditionally a terrible interview subject, De Niro proves surprisingly informative here. Too bad the piece lacks subtitles, as the less than stellar quality of the recording can make some aspects tough to hear.

Under Jake La Motta, two more segments appear. “Jake La Motta” goes for five minutes, 34 seconds and mixes a 1990 La Motta interview with archival shots from his fights.

This becomes a mediocre reel. We barely see any of that archival boxing footage and La Motta’s memories tend to favor his comedic shtick over actual insights.

“Remembering Jake” lasts 10 minutes, 55 seconds and features boxing memorabilia collector Louis Amend, boxer Charlie Norkus, Sr.’s son Charlie, Jr., retired boxers Tony Napoli, Leonard Mangiapone, Ed Gersh and Matt Farrago, boxing historian Henry Hascup, retired NY state judge Edwin Torres, and Bartenders Hall of Fame member Nick Zaloumis.

They offer observations about La Motta’s life and career. Some decent material emerges, but it’s not a piece that reveals a ton – other than the existence of the Bartenders Hall of Fame. Who knew such a thing existed?

From 1981, Cathy Moriarty and Vikki La Motta fills seven minutes. 42 seconds. It brings an interview for Belgian TV.

Paired together, La Motta discusses aspects of her life/relationship with Jake, while Moriarty adds thoughts about her work on the film. Though not particularly informative, I like the view of the two women together, and we get enough useful material to make the clip worth a look.

In addition to the film’s trailer, the set ends with a booklet. It includes photos, credits and essays from poet Robin Robertson and critic Glenn Kenny. The booklet completes the package well.

As a film, Raging Bull remains an admirable enigma to me. I respect the movie and like parts of it, but I’ve never been able to truly embrace it. The Blu-ray itself provides strong visuals with pretty good audio and a stellar collection of supplements. This becomes a quality release.

To rate this film visit the DVD review of RAGING BULL

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