of guilt and redemption, the film resembles a Eu-
ropean art film more than the typical Hollywood
movie of the 1980’s. In a decade characterized by
feminist concerns,Raging Bullpresents a milieu—
male-dominated 1940’s and 1950’s Italian American
working-class neighborhoods ruled by the mob—
known for reactionary sexual politics. Even within
this context, Jake’s wife beating and homophobia
are presented as excessive and indicative of his self-
hatred.
Scorsese ends the film with a biblical quotation
that indicates that La Motta has won the crucial fight
for his own soul, an interpretation contested by
many critics. In a decade of increasingly impersonal
filmmaking, one of the greatest shocks in this shock-
ing film is the final title, which dedicatesRaging Bull
to Scorsese’s recently deceased mentor and college
film professor, Haig Manoogian, “With love and res-
olution, Marty.”
Thelma Schoonmaker’s brilliant editing and De
Niro’s unforgettable performance were rewarded
with Academy Awards. Scorsese and others who were
involved in the production won many other impor-
tant awards.
Impact The creative direction of Scorsese and the
bravura performance of De Niro inRaging Bullsolid-
ified their individual reputations and marked their
ongoing collaborations as some of the most mem-
orable in contemporary American cinema. The
modest commercial success and considerable criti-
cal success ofRaging Bullenabled Scorsese to secure
financing for even riskier future projects.
Further Reading
Hayes, Kevin J., ed.Martin Scorsese’s “Raging Bull.”
New York: Cambridge University Press, 2005.
Kellman, Steven G., ed.Perspectives on “Raging Bull.”
New York: G. K. Hall, 1994.794 Raging Bull The Eighties in America
Robert De Niro as Jake La Motta inRaging Bull.(AP/Wide World Photos)