🎦 Raging Bull full movie HD download (Martin Scorsese) - Drama, Biography, Sport. 🎬
Raging Bull
Year:
1980
Country:
USA
Genre:
Drama, Biography, Sport
IMDB rating:
8.3
Director:
Martin Scorsese
Robert De Niro as Jake La Motta
Cathy Moriarty as Vickie La Motta
Joe Pesci as Joey
Frank Vincent as Salvy
Nicholas Colasanto as Tommy Como
Theresa Saldana as Lenore
Mario Gallo as Mario
Frank Adonis as Patsy
Joseph Bono as Guido
Frank Topham as Toppy
Charles Scorsese as Charlie - Man with Como
Don Dunphy as Himself - Radio Announcer for Dauthuille Fight
Bill Hanrahan as Eddie Eagan
Storyline: When Jake LaMotta steps into a boxing ring and obliterates his opponent, he's a prizefighter. But when he treats his family and friends the same way, he's a ticking time bomb, ready to go off at any moment. Though LaMotta wants his family's love, something always seems to come between them. Perhaps it's his violent bouts of paranoia and jealousy. This kind of rage helped make him a champ, but in real life, he winds up in the ring alone.
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Reviews
Raging Bull follows the life of Jake LaMotta who is a hard-nosed, stubborn, punk from Bronx, NY.
Raging Bull is a movie of pure raw emotion of anger, jealously, and grief. A film directed by Martin Scorsese, Raging Bull is a prototypical Scorsese movie as it deals with themes of failure for a man to understand the complexities in life. Another Scorsese movie that emulates this theme is "Taxi Driver". Raging Bull chronicles a prize fighter's journey through success and ultimate failures. Scorsese puts the viewer in a position to understand that in a prize fighter's mind there is no room to see the things that are happening around him. You see a man who is blinded by his insecurities of jealously and paranoia toward a woman who he is infatuated with.

Raging Bull follows the life of Jake LaMotta who is a hard-nosed, stubborn, punk from Bronx, NY. LaMotta grows up in the slums where he uses his hard knock upbringing to become a boxing prize fighter who wins the middleweight championship. As the fame and money started rolling in, LaMotta loses millions as his jealously, greed, anger, and paranoia get the better of him. Before, LaMotta wins the title there's a flashback to the series of events that has resulted in present day where LaMotta is an old out of shape aspiring comedian.

From the beginning, Jake LaMotta and his brother Joey are the center of controversy. Joey doubles as Jake's sparring partner and fight organizer. Everything seems to take a turn when Jake and Joey make a trip to the public swimming pool where the camera angles to a 15 year old girl named Vickie that catches the eye of Jake. Joey who reiterates to Jake that he is already married; however, decides that he would invite Vickie out for the day. Eventually, Jake marries Vickie where he becomes consumed by the thought that she is cheating on him. By his own jealously and paranoia, LaMotta goes on to use his anger and confusion to win the title and later lose it after his guilt finally is too much to handle.

The movie dwindles down and after a few years Jake LaMotta announces his retirement and his plans for buying a nightclub. This leads to Vickie telling Jake that she wants a divorce and had been planning to since his retirement announcement. As things seem to be crashing down around LaMotta who is soon arrested for introducing men at the nightclub to under-age girls. LaMotta spends nights crying in his cell but eventually serves his time and returns home to New York. Scorsese intertwines the theme throughout the movie of a man being lost within himself confined by the emotions of greed, jealously, and paranoia. In the end it all culminates in his return when he meets up with Joey where they share a nervous moment.
2011-10-30
What a Mess!
I saw this in 1980 when it was released to great acclaim and thought it was terrible. What an awful human being. Why make a movie about him? It's like celebrating a wino urinating against a wall.

I've seen it recently on cable, and it's worse than I remembered. I can't imagine any woman sitting through this porn. It's almost like Scorsese's inside joke: Let's see if I can make a movie about the most horrible people ever and get people to pay to see it. I did.
2017-07-25
Disappointing
Maybe if I saw this before Casino and Goodfellas, I would have liked this more, but it sucked in comparison to those two. Apart from Joe Pesci, I thought this movie was damn near unbearable. DeNiro did a great job acting, but it was wasted on this boring character and horrendous plot! DeNiro said all of two things to Vicki and supposedly she wasn't a girl you "F and leave" but DeNiro did it with two phrases. He took a dive and got the championship and self destructed for no apparant reason. Why was this interesting? The story itself wasn't interesting and the movie didn't enhance the true story at all. Cathy Moriarty was attractive and nothing more. The rest of the characters other than the La Motta brothers added nothing and were drab and blah. Goodfellas and Casino had a better plot and the characters had more depth and overall were much better movies. Except for "I heard things" and Joe Pesci, I want the 2 hrs of my life back.
2004-06-29
Possibly the best American picture made to date!
If you have not yet seen this picture, or are considering... Watch this film! Just another Of Martin Scorsese's masterpieces, the film has a perfect balance of truthful acting, dramatic circumstances and beautiful film making, a film you can appreciate on many levels. Not to mention Robert De Niro's Oscar winning performance (Without a question too). Every second he is on screen is visceral, also the relationship with Joe Pesci is one of pre-21st century's best partnership. The cinematography is notable and stunning especially during the actual boxing scenes, with an unforgettable opening! Love this film, director and lead man! 10 out of 10!
2014-03-09
The most important "boxing-movie" of all times
Jake La Motta's story is no doubt the best movie about boxing of all times together with Robert Wise's The Set-Up. Besides the legendary performance of Robert De Niro, there are many things in this film that will remain in my heart forever: the splendid black & white, the contrast between the slow moving scenes and the frenetic ones, the choice of the music and the sense of loss which entangles the whole movie. De Niro faces another "born loser" role (after Travis Bickle, John Rubin, Johnny Boy) and strikes again; Martin Scorsese is the most poetic director of the last 30 years.
2000-02-09
On jealousy, the opening credit, boxing scenes, and other things
Spoilers

Watching Raging Bull nearly a quarter of a century after De Niro won his Oscar cannot be the same experience as watching the movie when it was freshly made. The interesting thing is that regardless of when you watch a movie, there would often be another one that it would make you recall. In my case, it's Sylvia which I saw very recently. The link is the emotion called jealousy. Manifested in two real-life characters of the opposite sex, jealousy just jump out of the screen at you in both movies, although strangely, it isn't the main subject matter of either. Strange it may seems, jealousy serving as an immediate link between two human beings that could not have been more different: Jake La Motta and Sylvia Plath,.

In the opening credit, against the background music of Ave Maria (Bach-Gounod's version, I think, but could well be wrong), we see in slow motion a blurred figure (presumably De Niro) in a hood, at a distance, practising by himself on the far left side of the screen, in a boxing ring. Regardless of what it is saying, or not saying, the combination of the mystic visual image and serene music produces an uncanningly haunting effect.

Moving right along…on the boxing scenes. Someone once said that boxing is the purest form of head-to-head confrontation/combat. The movie industry is prolific with good boxing scenes. (Even Elvis Presley in Kid Galahad is not that bad). The unique thing about the boxing scenes in Raging Bull (and there are so many of them) is that they are closest to documentary footage than what you'll see anywhere else. In Raging Bull, there is little dramatic consequence to them. As are result, they can be filmed in the purest form. Many have commented that these boxing sequences are brilliant, and maybe that's why.

Going to other aspects of the film, I enjoy particularly watching the courtship sequence. The parties involved are not exactly intellectual giants, and both De Niro and Cathy Moriarty portrayed there characters beautifully and, as far as I can surmise, realistically. Coming with the slightly minimalised acting is a sweet innocent that is uncharacteristic of the film.

On De Niro's Oscar calibre performance enough has been said over the last quarter-century, including how he went off for two months to put on that extra 50 pounds before they resumed shooting to complete the last part of the film. Looking at Charlize Theron today, we see that something never changes: the winning combination of talent and professional dedication.
2004-07-12
China Shop
Spoilers herein.

I'll be right up front. I admit Scorsese's skill but just don't like his films and certainly don't see any art in them.

That's because I disagree with him on what cinematic storytelling is all about. For him, characters are everything, which is why he needs sledgehammers as actors, and spikes (gangsters, etc) as the roles. Then he arranges for them to explode or simmer or steam, or explode again.

Every element of the eye is subservient to the character. He (always he except for his experiment with poor Alice) pulls the camera around. We as bound audience follow. It is all about involuntary submission to manufactured charisma. I don't like this style of storytelling. It ignores the greatest power of the camera's eye: to allow the audience to move in and out of spaces: personal spaces, narrative spaces, time folding, sometimes God, sometimes his victim. There's freedom and imagination when the eye is freed, and this is the real power of the filmmaker.

But with Martin, he ignores this power: the camera is bound. We are the weak sidekick, forced into respect. All the competence (here the editing is superb) is turned to an end which ruins the experience. Scorsese knows this, in fact at this point in his life he was feeling it, and that is why we get what we do. A camera that forces respect.

But alone of his films (I am re-seeing them all), this has a sweet pleasure. In the midst of the obligatory scene where DeNiro takes to himself in the mirror, we get a wonderful reference to Brando. This frames the film and explicitly acknowledges that most films (except those of the real geniuses) are about other films, not life. `Bull' stands on `Waterfront's' structure.

And DeNiro stands on Brando's shoulders. How brave to mouth the lines. Brando was intense, but that was not his innovation, it was an ability to project two performances simultaneously. Here DeNiro tries to equal or best that by playing three characters: himself besting Brando, his character equalling Brando's, and Brando wrestling with his character (which we see in `Waterfront' as a man wrestling with his inner self).

Watch how DeNiro tries. How he pushes too hard (something we can now call the Pacino/Cage error), how he loses control and knows it. Scorsese knows it too, and it speaks highly of them both to put DeNiro's `not world class' broken actor as representative of the broken `not world class' boxer. I appreciate that honesty. It makes this my favorite film of his (Scorsese).
2002-05-30
Self-redemption
"I wanted to push all the way to the very very end and see if I could die. Embracing a way of life to its limit."

Martin Scorsese

During the making of New York, New York (1977), which turned out to be a box-office failure, the Roman Catholic director, Martin Scorsese, sank into a spiraling abyss of drug addiction. While he was "embracing a way of life to its limit", he almost got himself killed after having some "bad coke" that caused a massive internal bleeding. Thanks to this wake-up call, he finally kicked off his cocaine addiction with the help of the actor and his close friend, Robert De Niro, with whom he collaborated on all his most notable works. Believing that he would never make another film, Scorsese poured all his energy into making the next film, Raging Bull (1980), which received spectacular success and was voted the greatest film of the 1980s by Britain's Sight & Sound magazine.

Raging Bull is a biographic drama film about an emotionally self-destructive boxer fueled by paranoid jealousy and rage, which lead him to the top of the ring while destroy his life outside of it. The film is not only a redemption, which saved Scorsese from his self-destruction but also a landmark where his film style reached its peak: the expressionistic depict of psychological points of view. In his previous hits, Mean Street (1973) and Taxi Driver (1976), Scorsese rendered the protagonists' psychotic perspectives using high contrasts and aggressive use of bold colors. Raging Bull, shot in high contrast black-and-white, vividly carried out the raging, masochistic and insecure mind state of Jake La Motta through the perfect combination of visual and audio effects. From La Motta's point of view, his wife, Vickie is always in slow motion when she is close to other men. Through the exaggerated depiction of an innocent event, La Motta's jealousy is visually represented. During the most riveting boxing scenes, Scorsese utilizes not only the punching sounds but also the bull roars, flashbulbs, water-running, and even squelching watermelon sound effects to externalize the bubbling rage deep within La Motta.

Brutal and intense as the movie is, it has a poetic and contemplative opening of La Motta shadowboxing alone in the ring. The background music "Intermezzo" from the opera Cavalleria Rusticana orchestrates a tragedy that is about to unfold, while La Motta's movements are full of freedom and even transcendence. Interestingly, the movie also ends with La Motta, now an old, fat and failed comedian, shadowboxing in the dressing room before his show. Perhaps Scorsese is trying to suggest that throughout La Motta's whole life, boxing is the physical way in which this self-destructive soul seeks for spiritual absolution. Perhaps the cinematic classic, Raging Bull, is not only about rage and violence, but more about self-redemption.
2015-04-26
"The man's got a head of rock".
You can take Tommy Como's (Nicholas Colasanto) description (above) of Jake La Motta a couple of different ways. La Motta could take a punch like no one else, evidenced by the kitchen scene when he had brother Joey (Joe Pesci) bang away at him trying to prove a point. On another level, La Motta was savaged by his inner demons, making him a tortured, animalistic man who inveighed his wife (Cathy Moriarty) with repeated abuse. Something as picayune as choosing between a cheeseburger and a piece of cake was enough to set him off the deep end. It's Robert De Niro's depiction of La Motta's life outside the squared circle that makes "Raging Bull" such a triumph of film making. Not so much a boxing picture as one with boxing in it, the movie explores the depths of one man's depravity and deep seated insecurity that makes him an animal both inside and outside the ring.

Without the boxing however, the film would be an incomplete biography. Tracing La Motta's history from his 1941 loss to Jimmy Reeves on a nine count save at the bell, up to the loss of his Middleweight Title to Sugar Ray Robinson in 1951, the film explores the Raging Bull's turbulent history as an athlete as well. The picture gives a hint of the criminal element involved in fixing matches, and recounts the infamous 1947 Garden match he tanked against Billy Fox. Though they're never mentioned by name, this favor to the Mafia along with a payoff of twenty thousand dollars eventually got La Motta a middleweight title shot against Marcel Cerdan which he won.

Aside from his visceral portrayal of La Motta, Robert De Niro fully went the extra mile gaining sixty pounds to play La Motta in retirement. It just amazes me that an actor would put that much into his craft to achieve that kind of realism, which is just one more reason De Niro is considered one of the best of all time. Interestingly, check it out and see if you agree, in the scene of La Motta having his breakdown in the Dade County stockade he bore an uncanny resemblance to actor William Bendix.

In support, Joe Pesci gives one of the truly amazing performances of his career as well. You know, I don't particularly care for gutter language in film, but when done by Pesci, the colorful use of the F word almost rises to the level of high art. Along with Cathy Moriarty's depiction of wife Vickie, "Raging Bull" offers a compelling portrait of a man racked by personal insecurity and inner torment, who's brutal nature could only find release in a sport as physically demanding as boxing.
2011-04-16
Brilliant movie, with 1 of the top 5 performances ever by DeNiro
Hard to sum up in words, but much easier than summing up in hand signals Robert DeNiro + Martin Scorsese + Great Story + Brilliant Script = One of the best movies ever.

"Raging Bull" tells the true story of Jake La Motta, an early 1900's boxer who went from champion to bum. The story begins with his rise in the boxing world, where his talent is obvious but equally is his womanizing, anger and paranoia. As he rises to champion, things go well for Jake, but when problems arise his character flaws bring about his downfall.

A must see for true movie lovers. An outstanding performance by DeNiro, even better than his effort in "Analyse This", who famously put on over 70lb for the role for La Motta's later years. Also great performances by Joe Pesci, in his breakthrough role before "Home Alone", and Cathy Moriarty. Outstanding directing by Scorsese, who created the most realistic boxing scenes up until that time, with the black and white effect really adding to the movie. One of the great Hollywood movies.
2006-02-19
📹 Raging Bull full movie HD download 1980 - Robert De Niro, Cathy Moriarty, Joe Pesci, Frank Vincent, Nicholas Colasanto, Theresa Saldana, Mario Gallo, Frank Adonis, Joseph Bono, Frank Topham, Lori Anne Flax, Charles Scorsese, Don Dunphy, Bill Hanrahan, Rita Bennett - USA. 📀
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