The opening of Raging Bull bears something uneasy, yet refined and languorous, somewhat reminiscent of the quiet roll of the marble in the opening of To Kill A Mockingbird. Indeed, “give me a stage where this bull here can rage… that’s entertainment.” A row of people sit, silhouettes in judgement, while flashbulbs pop and die with the slow pace of the events about to unfold. The ropes of the ring are frames, like bars of music. Robert DeNiro’s Jake LaMotta is a coiled animal, caged like a note on sheet music: fierce, balletic, and balanced to its function.
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