Торлы Жек Ламоттаныӈ Тарихы

1980 film directed by Martin Scorsese
the 1980 film

In 1941, Jake LaMotta is a young, up and coming middleweight boxer who suffers his first loss to Jimmy Reeves after a controversial decision. Jake's brother Joey discusses a potential shot for the middleweight title with one of his Mafia connections, Salvy Batts, but he repeatedly refuses the Mafia's help, wanting to win the championship on his own terms. Some time after, Jake spots a fifteen year old girl named Vickie at a swimming pool in his Bronx neighborhood. He eventually pursues a relationship with her, although he is already married and Vickie is underage. In 1943, Jake defeats Sugar Ray Robinson, and has a rematch three weeks later. Despite Jake dominating Robinson during the bout, the judges surprisingly rule in favor of Robinson, who Joey feels won only because he was enlisting into the Army the following week. By 1945, Jake marries Vickie. Jake is controlling and domineering over Vickie, and constantly worries that she has feelings for other men. His jealousy is evident when he brutally beats his next opponent, Tony Janiro, in front of Tommy Como, the local mob boss, and Vickie. As Joey discusses the victory with journalists at the Copacabana, he is distracted by seeing Vickie approach a table with Salvy and his crew. Joey speaks with Vickie, who implies she is dissatisfied in her marriage with Jake. Under the wrong impression that Vickie is having an affair with Salvy, Joey viciously attacks him in a fight that spills outside of the club. Como later orders them to apologize, and has Joey tell Jake that if he wants a chance at the championship title, which Como controls, he will have to take a dive first. Jake purposely loses his next match against Billy Fox, and is booed out of the building after putting up a lackluster performance. He is suspended shortly thereafter from the board on suspicion of throwing the fight, much to his anguish. He is eventually reinstated, and in 1949, wins the middleweight championship title against Marcel Cerdan. A year later, Jake becomes increasingly paranoid that Vickie is having an affair. He asks Joey if he has had an affair with her, enraging Joey and causing him to leave. Jake later presses Vickie about whether she has had an affair, leading to her sarcastically confessing that she had sex with Joey, Salvy and Tommy. In a fit of rage, Jake, followed by Vickie, walks to Joey's house and assaults him in front of his wife Lenora and their children before knocking Vickie unconscious. Vickie later returns to their home and threatens to leave, but they reconcile. After defending his championship belt in a grueling fifteen round bout against Laurent Dauthuille in 1950, he calls his brother after the fight to make amends, but when Joey assumes Salvy is on the other end and starts insulting and cursing at him, Jake silently hangs up. Estranged from his brother, Jake sees his career decline and he eventually loses his title to Sugar Ray Robinson in their final encounter in 1951. By 1956, an aged and overweight Jake has retired and moved with his family to Miami. After he stays out all night at the nightclub which he owns, Vickie tells him she wants a divorce as well as full custody of their children. She also threatens to call the police if he comes anywhere near them. He is later arrested for introducing under age girls to men in his club. He unsuccessfully attempts to bribe his way out of his criminal case using the jewels from his championship belt. In 1957, he goes to jail, sorrowfully questioning his misfortune and crying in despair. Upon returning to New York City in 1958, he encounters Joey, who reluctantly accepts his embrace. In 1964, Jake performs stand up comedy at various clubs. Backstage before a show LaMotta prepares himself for his performance by shadowboxing, quoting scenes from On the Waterfront and chanting "I'm the boss" before taking the stage.

Raging Bull came about when Robert De Niro read the autobiography upon which the film is based while he was on the set of The Godfather Part II. Although disappointed by the book's writing style, De Niro became fascinated by the character of Jake LaMotta. He showed the book to Martin Scorsese on the set of Alice Doesn't Live Here Anymore in the hope that he would consider the project. Scorsese repeatedly turned down the opportunity to direct the film, claiming he had no idea what Raging Bull was about, even though he had read some of the text. Never a sports fan, when he found out what LaMotta used to do for a living, he said, "A boxer? I don't like boxing Even as a kid, I always thought that boxing was boring It was something I couldn't, wouldn't grasp." His overall opinion of sport in general is, "Anything with a ball, no good." The book was then passed onto Mardik Martin, the film's eventual co screenwriter, who said "the trouble is the damn thing has been done a hundred times before—a fighter who has trouble with his brother and his wife and the mob is after him". De Niro had even shown the book to producers Robert Chartoff and Irwin Winkler, who were willing to assist only if Scorsese agreed. After nearly dying from a drug overdose, Scorsese agreed to make the film, not only to save his own life but also to save his career. Scorsese began to relate very personally to the story of Jake LaMotta, and in it he saw how the boxing ring can be "an allegory for whatever you do in life", which for him paralleled moviemaking, "you make movies, you're in the ring each time." Preparation for the film began with Scorsese shooting some 8 mm color footage featuring De Niro boxing in a ring. One night when the footage was being shown to De Niro, Michael Chapman, and his friend and mentor, the British director Michael Powell, Powell pointed out that the color of the gloves at the time would have only been maroon, oxblood, or even black. This is one of the reasons Scorsese chose to film Raging Bull in black and white. Other reasons were to distinguish the film from other color films around the time and to acknowledge the problem of fading color film stock—an issue Scorsese recognized. Scorsese went to two matches at Madison Square Garden to aid his research, picking up on minor but essential details such as the blood sponge and subsequently, the blood on the ropes (which would later be used in the film). According to De Niro, under no circumstances would United Artists accept Martin's script. The story was based on the vision of journalist Pete Hamill of a 1930s and 1940s style, when boxing was known as "the great dark prince of sports". De Niro was unimpressed when he finished reading the first draft, however. Taxi Driver screenwriter Paul Schrader was swiftly brought in to rewrite the script around August 1978. They were also responsible for the end sequence where LaMotta is all alone in his dressing room quoting the "I could have been a contender" scene from On the Waterfront. De Niro, who was already committed to play Jake LaMotta, began to help Scorsese track down unfamiliar names to play his on screen brother, Joey, and wife, Vikki. The role of Joey LaMotta was the first to be cast. De Niro was watching a low budget television film called The Death Collector when he saw the part of a young career criminal played by Joe Pesci (then an unknown and struggling actor) as an ideal candidate. Prior to receiving a call from De Niro and Scorsese for the proposal to star in the film, Pesci had not worked in film for four years and was working at an Italian restaurant in New Jersey. The role of Vikki (respelled as Vickie in the final film), Jake's second wife, had interest across the board, but it was Pesci who suggested the then unknown Cathy Moriarty from a picture he once saw at a New Jersey disco. Charles Scorsese, the director's father, made his film debut as Tommy Como's cousin, Charlie. Jake LaMotta, on the other hand, served as his trainer, accompanied by Al Silvani as coach at the Gramercy club in New York, getting him into shape. The actor found that boxing came naturally to him; he entered as a middleweight boxer, winning two of his three fights in a Brooklyn ring dubbed "young LaMotta" by the commentator. According to Jake LaMotta, De Niro was one of the top 20 best middleweight boxers of all time. The initial five week schedule for the shooting of the boxing scenes took longer than expected, putting Scorsese under pressure. According to Evje, Jake's nightclub sequence was filmed in a closed down San Pedro club on December 3. The jail cell head banging scene was shot on a constructed set with De Niro asking for minimal crew to be present—there was not even a boom operator. The final sequence where Jake LaMotta is in front of his mirror was filmed on the last day of shooting, requiring 19 takes, with only the 13th being used for the film. Scorsese wanted to have an atmosphere that would be so cold that the words would have an impact as he tries to come to terms with his relationship with his brother. A sound mix arranged by Frank Warner was a delicate process taking six months. In 2012, Raging Bull was voted by the Motion Picture Editors Guild as the best edited film in history.

Paula Petrella, heir to Frank Petrello whose works were allegedly sources for the film, filed for copyright infringement in 2009 based on MGM's 1991 copyright renewal of the film. In 2014, the Supreme Court held, in Petrella v. Metro Goldwyn Mayer, Inc., that Petrella's suit survived MGM's defense of "laches", the legal doctrine that protects defendants from unreasonable delays by potential plaintiffs. The case was remanded to lower courts, meaning that Petrella could receive a decision on the merits of her claim. MGM settled with Petrella in 2015.

The brew of violence and anger, combined with the lack of a proper advertising campaign, led to the film's lukewarm box office intake of only $23 million, when compared to its $18 million budget. By the time it left theaters, it only earned $10.1 million in theatrical rentals (equivalent to $10.1 in 1980 is equivalent to about <calculated amount> in recent years million in ). Scorsese became concerned for his future career and worried that producers and studios might refuse to finance his films.

By the end of the 1980s, Raging Bull had cemented its reputation as a modern classic. It was voted the best film of the 1980s in numerous critics' polls and is regularly pointed to as both Scorsese's best film and one of the finest American films ever made. Several prominent critics, among them Roger Ebert, declared the film to be an instant classic and the consummation of Scorsese's earlier promise. Ebert proclaimed it the best film of the 1980s, and one of the ten greatest films of all time. The film has been deemed "culturally, historically, and aesthetically significant" by the United States Library of Congress and was selected for preservation in the National Film Registry in 1990. Raging Bull was listed by Time magazine as one of the All TIME 100 Movies. Variety magazine ranked the film number 39 on their list of the 50 greatest movies. Raging Bull was fifth on Entertainment Weekly's list of the 100 Greatest Movies of All Time. The film tied with The Bicycle Thieves and Vertigo at number 6 on Sight & Sound 2002 poll of the greatest movies ever. When Sight & Sound directors' and critics' lists from that year are combined, Raging Bull gets the most votes of any movie that has been produced since 1975. In 2002, Film4 held a poll of the 100 Greatest Movies, on which Raging Bull was voted in at number 20. Halliwell's Film Guide, a British film guide, placed Raging Bull seventh in a poll naming their selection for the "Top 1,000 Movies". TV Guide also included the film on their list of the 50 best movies. Movieline magazine included the film on its list of the 100 best movies. Leonard Maltin included Raging Bull on his 100 Must See Films of the 20th Century list. Video Detective also included the film on its list of the top 100 movies of all time. Roger Ebert named "Robert De Niro's transformation from sleek boxer to paunchy nightclub owner in Raging Bull" as one of the 100 Greatest Movie Moments. The National Society of Film Critics ranked it #75 on their 100 Essential Films list. Rolling Stone magazine ranked it #6 on their list of the 100 Maverick Movies in the Last 100 Years. A 1997 readers poll conducted by the L. A. Daily News ranked the film #64 on a list of the greatest American movies. The Writers Guild of America named the film as the 76th best screenplay of all time. Raging Bull is #7 on Time Out Film Guide's "Centenary Top 100" list, and it also tied at #16 (with Lawrence of Arabia) on their 1998 readers poll. In 2008, Empire magazine held a poll of The 500 Greatest Movies of All Time, taking votes from 10,000 readers, 150 film makers, and 50 film critics in which Raging Bull was placed at number 11. It was also placed on a similar list of 1000 movies by The New York Times. In 2010, Total Film selected the film as one of The 100 Greatest Movies of All Time. FilmSite. org, a subsidiary of American Movie Classics, placed Raging Bull on their list of the 100 greatest movies. Additionally, Films101. com ranked the film as the 17th best movie of all time in a list of the 10,790 most notable. In 2012, the Motion Picture Editors Guild listed the film as the best edited film of all time based on a survey of its membership. In the 2012 Sight & Sound polls, it was ranked the 53rd greatest film ever made in the critics' poll and 12th in the directors' poll. Contemporaries of Scorsese, like Francis Ford Coppola, have included it routinely in their lists for favorite films of all time. In 2015, Raging Bull ranked 29th on BBC's "100 Greatest American Films" list, voted on by film critics from around the world.

Martin Scorsese decided to assemble a soundtrack made of music that was popular at the time using his personal collection of 78s. With the help of Robbie Robertson, the songs were carefully chosen so they would be the ones that a person would hear on the radio, at the pool or in bars and clubs which reflected the mood of that particular era. Some lyrics from songs would also be slipped into some dialogue. The Intermezzo from Cavalleria rusticana by Italian composer Pietro Mascagni would serve as the main theme to Raging Bull after a successful try out by Scorsese and the editor, Thelma Schoonmaker, over the film's opening titles. A two CD soundtrack was released in 2005, long after the film was released, because of earlier difficulties obtaining rights for many of the songs, which Scorsese selected from his childhood memories growing up in New York.

In 2006, Variety reported that Sunset Pictures was developing a combination sequel and prequel film entitled Raging Bull II: Continuing the Story of Jake LaMotta, chronicling LaMotta's life before and after the events of the original film, as told in the memoir of the same name. Filming began on June 15, 2012, with William Forsythe as the older LaMotta and Mojean Aria as the younger version (before the events of the first film). The film, directed by Martin Guigui, also stars Joe Mantegna, Tom Sizemore, Penelope Ann Miller, Natasha Henstridge, Alicia Witt, Ray Wise, Harry Hamlin, and James Russo as Rocky Graziano. In July 2012, MGM, owners of United Artists, filed a lawsuit against LaMotta and the producers of the new film to block it from being released. MGM argued that they had the rights to make any authorized sequel to the original book, tracing their claim back to an agreement LaMotta and co author Peter Savage made with Chartoff Winkler, producers of the original film. MGM argued that the defendants were publicly claiming the film to be a sequel to the original film, which they said could "tarnish" the original film's reputation. In August 2012, the suit was settled, with producers of the new film retitling it The Bronx Bull and agreeing not to market it as a sequel to Raging Bull. The film was released in 2016.