Visual Absurdity in Raging Bull Todd Berliner University of North Carolina at Wilmington Preprint of Chapter in Raging Bull: A Cambridge Film Handbook. Ed. Kevin Hayes. Cambridge, U.K. and New York: Cambridge University Press, 2005. Visually, Raging Bull is almost an artistic fiasco. The film’s visual style seems often on the point of falling to pieces. The last fight scene, for instance—in which Sugar Ray Robinson incessantly pummels an exhausted Jake La Motta—depicts images so ludicrous that it’s a wonder that viewers can make sense of it. One shot bizarrely shows a punch from the perspective of Robinson’s glove as it approaches La Motta’s face. Seconds later, one of Robinson’s blows causes liquid to spray out of La Motta’s head, as though from a sprinkler, and splatter a crowd of onlookers with what looks like a bucket- load of blood. At one point Robinson winds up for a punch in a ridiculously awkward stance, his arm and shoulder stretched in the air behind him, standing like a third-grader pretending to be a fighter: The shot appears more strange because of slow motion cinematography and the curious emergence of smoke surrounding Robinson’s body. Such absurd and implausible images permeate the film, especially its fight sequences. In the pages that follow, I shall set about demonstrating that Raging Bull’s visual incoherence and intermittent absurdity are integral to its success as a film and one of the primary reasons that critics and audiences find the film so compelling.1 Before I do, however, I want to illustrate director Martin Scorsese’s commitment to the film by discussing the care with which he constructed its eccentric visual style. “I put everything I knew and felt into that film and I thought it would be the end of my career,” Scorsese said. “It was what I call a kamikaze way of making movies: pour everything in, then forget all about it and go find another way of life.”2 To prepare the eight elaborate fight sequences, Scorsese and director of photography Michael Chapman mapped out every camera angle, camera movement, and distance of framing, as well as every actor’s movement and every punch. Chapman said, “Each shot was drawn out in great detail, almost like Arthur Murray, those weird dance steps they used to draw on the floor. We did that.”3 Together, the fight scenes last about nineteen minutes of screen time in the 129-minute movie, but they took ten weeks to shoot in a film that shot for a total of sixteen weeks. Scorsese and Chapman filmed each fight sequence in a different style. For instance, image-distorting techniques during the third fight (between La Motta and Sugar Ray Robinson) convey throughout an impression of heat: A heavy haze fills most of the frames; figures come in and out of focus; long lenses and slow motion cinematography make the movements of the characters look sluggish; and several shots display a desert- mirage effect, created by putting flames in front of the lens during shooting (figure 1). 1 Figure 1: Third fight sequence. Fog in the frame and flames placed in front of the lens give an impression of heat. The sixth fight, which focuses on La Motta’s eagerness to win Marcel Cerdon’s middle- weight crown, leaves a completely different impression: This sequence has a more lyrical presentation—it’s the only fight sequence with operatic background music and without an announcer’s commentary—and the quick depictions of the passing rounds make La Motta’s victory seem swift and assured. By contrast, the last fight sequence, in which La Motta loses the crown, focuses on the punishment he receives during the bout and seems to go on interminably: Slow motion shots frame the blood and sweat falling off of La Motta’s face; at times the action stops and all sounds drop out, except for the sound of the boxer’s panting breath; and, for half a minute, discordant images of Robinson’s ceaseless punching flash across the screen. Postproduction took six months (rather than the allotted seven weeks). According to editor Thelma Schoonmaker, producer Irwin Winkler said to her and Scorsese, “‘You can’t mix this film inch by inch.’ And Marty said, ‘That’s the way it’s going to be done.’ And it was.”4 Her first major narrative film, Raging Bull won Schoonmaker an Oscar for editing.5 She has attributed the victory to Scorsese’s pre-production planning and the director’s own editing talents: “I felt that my award was his because I know that I won it for the fight sequences, and the fight sequences are as brilliant as they are because of the way Marty thought them out. I helped him put it together, but it was not my editing skill that made that film look so good.”6 The diligence Scorsese used to construct every moment of Raging Bull and the critical recognition the film has received, especially for its astonishing fight sequences, prompts this essay’s painstakingly close examination of the film’s visual style. In order to understand what it is about Raging Bull’s visual style that has caused the film to earn such recognition, one needs to consider the film, as Scorsese did when he constructed it, “inch by inch.” 2 Raging Bull was grueling to plan, shoot, and edit partly because it violates the logic of Hollywood’s filming and editing conventions, which offer filmmakers a ready- made, time-tested blueprint for keeping spatial relations coherent, for comfortably orienting spectators, and for maintaining a consistent flow of narrative information. As Hitchcock was fond of observing, however, “nothing in the world is as dull as logic.”7 Raging Bull offers an aesthetically exciting alternative to Hollywood’s narrative efficiency and visual coherence.8 It rejects many of the stylistic harmonies associated with Hollywood cinema, even though it also relies on, and feels stabilized by, some traditional Hollywood structures (such as classical conventions of narration, continuity, and realism) that prevent the film from collapsing into chaos and arch unpredictability. The constant tugging activity between the film’s stylistic perversities (elements that pull the film in disparate directions) and stylistic unities (elements that draw together its incongruent pieces) creates myriad potentials for disorder that the film continually checks through visual means. In order to understand the kinds of incoherences that characterize Raging Bull’s visual style, let us first look at the ways in which the film adopts two antithetical techniques for combining images—Eisensteinian visual collisions and fluid visual transformations. Scorsese himself testified to that tension in his work when he said, “I’m torn between admiring things done in one shot, like Ophuls or Renoir, on the one hand, and the cutting of, say, Hitchcock and Eisenstein on the other.”9 Afterward, we shall see how Raging Bull enables spectators to register the film’s various incoherences as if they were not incoherences and to understand combinations of images that no mind could reasonably understand. Raging Bull and “Intellectual Montage” Interspersed throughout Raging Bull, Scorsese uses a type of editing espoused by Soviet filmmaker Sergei Eisenstein in his films and writings from the period 1923 to 1930.10 Instead of maintaining narrative and spatial continuity between shots, as in the American style of editing, Eisenstein constructed his films (especially his earlier films) through a series of conflicting images. Editing, for Eisenstein, should not be fluid but shocking. He based his theory of editing on the same Hegelian dialectic that Marx used to formulate his theory of revolutionary change, and he believed that by combining two disparate shots (the first a thesis, the second its antithesis), a film could create a new concept (a synthesis) through the collision of images, a concept present in neither shot individually. To that end, he intersperses his earlier films with images that take spectators out of the immediately relevant narrative space in order to depict some other area or figure that offers a metaphorical accentuation or contrast to the narrative action. At other times they show a character or an action from various discordant angles or drastically change the subject of the frame from one shot to the next. Eisenstein believed that incongruent combinations of shots would more effectively convey abstract ideas and create more passionate audience responses than the fluid “continuity editing” prominent in American cinema. He called his editing technique “intellectual montage,” and film scholars sometimes refer to it as “collision editing.” Raging Bull offers textbook illustrations of Eisenstein’s editing method. Perhaps the most straightforward example of a single Eisensteinian edit is the cut from a scene between Jake and Vicki La Motta in their bedroom to a boxing scene between La Motta 3 and Tony Janiro. In the bedroom scene, Jake questions a groggy Vicki about a comment she made about Janiro: JAKE. Well, how come you said that thing about Janiro? VICKI. What’d I say? JAKE. You said he had a pretty face. VICKI. I never noticed his face. JAKE. Well, how come you said that then? The scene is quiet (they speak softly, and we hear no ambient sounds or mood music) and the pace slow, but our knowledge of Jake’s propensity for jealous violence makes the moment tense and pregnant with seething rage. The low-key lighting, which casts heavy shadows across their faces, makes the mood even more ominous (figure 2). As the scene ends, we see Jake brooding on her comments. figure 2: Low-key Lighting in Bedroom Scene Suddenly and shockingly, the film cuts to an extreme close-up of a boxer, presumably Janiro, getting punched twice in the face. The cut is precisely timed with the first punch, and we hear loud pummeling and a raucous crowd. The film makes no effort to smooth the harsh transition from the bedroom to the fighting ring: Instead, we move jarringly from a slow to a fast pace, from quiet to loudness, from stillness to movement, and from contained violence to expressed violence. As Eisenstein would have predicted, the two shots, when combined, create a concept present in neither shot individually: La Motta uses boxing to express his anger and jealousy. Scorsese peppers Raging Bull’s fight sequences with numerous visual collisions and cut-aways similar to the one that joins the bedroom scene to the Janiro fight. During the scene of La Motta’s fight with Jimmy Reeves, for instance, the film cuts from the action in the ring to a shot of two men (one of them a soldier) fighting in the stands. The juxtaposition of images suggests that the fighting in the ring encourages and participates in a broader interest in violence among boxing fans. The film furthers that idea when it 4 intersperses shots of fans cheering the most brutal boxing activity, of photographers voyeuristically recording the bout, and of a riot among the fans after the fight. The most intensely Eisensteinian fight sequence is the title match with Ray Robinson that results in La Motta’s loss of the middle-weight crown. During the final moments of the bout, Scorsese packs into 26 seconds of screen time a sequence of 35 discordant shots that break fundamental rules of continuity editing in order to convey a subjective impression of La Motta’s brutal experience in the ring. As Robinson pummels La Motta, who is too tired even to defend himself, shots of the challenger’s punches combine in a barrage of inconsistent images. For instance, Robinson’s right jab in one shot (figure 3) illogically hits La Motta with a left hook in the subsequent shot (figure 4), and, when the film cuts back to Robinson, his right punch continues to follow through (figure 5). Violating the 30˚ rule, the film then jump-cuts from the straight-on shot of Robinson (figure 5) to a low-angle shot of him (figure 6).11 The sequence of 35 shots also contains nine violations of the 180˚ rule.12 Figures 3-6: Four consecutive shots from the eighth fight sequence (La Motta vs. Robinson) Figure 3: Robinson’s right 5 Figure 4: Reverse shot shows La Motta hit with a left hook Figure 5: Robinson’s right punch follows through 6 Figure 6: Jump cut to low-angle shot of Robinson Figures 3-6: Four consecutive shots from the eighth fight sequence (La Motta vs. Robinson) As the sequence progresses from shot to shot, the camera angles and framing do not follow customary editing patterns. Indeed, the combination of shots seems almost random. Consider for example the violations of traditional continuity in the following seven shots. The angle on the action changes with each shot and—rather than only slightly shifting the frame’s “center of interest,” as is the custom in a conventionally edited sequence13—the film moves unpredictably from one close up to another, drastically altering the subject of the frame with each cut: Shot one: Low-angle extreme close-up of the front of Robinson’s face. Shot two: High-angle shot of La Motta’s head and his left arm on the ropes. Shot three: Close-up tracking down from La Motta’s trunks to his bloody legs. Shot four: Close-up of La Motta’s face being punched. Shot five: Extreme low angle shot of Robinson’s face. Shot six: Extreme close-up of the left side of La Motta’s face, slightly low angle, as a glove hits his head. Shot seven: birds-eye shot of Robinson’s head and face. Later the sequence violates temporal and graphic continuity by portraying five successive shots of Robinson’s gloves hitting La Motta’s face, without any pause between punches, each shot from a different angle, two of them with the camera turned on its side at opposite 90-degree angles (figures 7 and 8). 7 Figure 7 Figure 8 Figures 7-8: Two consecutive shots from the eighth fight sequence, La Motta vs. Robinson Despite the continuity violations, the sequence does not feel as unconventional as comparable sequences from Eisenstein’s films from the 1920s. Eisenstein often takes spectators out of the diegesis in order to create a symbolic association between juxtaposed images. In October (1927), for instance, he inter-cuts images of Kerensky 8 with those of a mechanical peacock, to suggest, through the visual metaphor, the Russian leader’s pompousness and posturing.14 The “collision editing” in Raging Bull, by contrast, is more consistent with continuity editing because it does not take the spectator out of the immediate space of the boxing ring. Moreover, as Hitchcock did in Psycho’s (1960) shower sequence, Scorsese uses the jarring editing technique to convey the protagonist’s subjective experience of the depicted violence: The rapid-fire and disorienting cuts convey the speed and impact of Robinson’s blows.15 Eisenstein uses “collision editing” to convey all sorts of ideas, whereas here Scorsese, like Hitchcock, uses it to convey his protagonist’s experience of violence. Visual Fluidity and Raging Bull’s Long Steadicam Shot Scorsese relishes seamless visual transformations just as much as Eisensteinian collisions. Indeed, the director is known for his long, elegant tracking shots. Goodfellas (1990) uses three such shots: 1) Henry Hill’s point-of-view shot as he enters a restaurant while characters introduce themselves directly to the camera; 2) the shot entering a refrigerated meat-truck, which begins on a crane above the truck, slowly tracks through the truck’s doors, weaves through hanging slabs of frozen meat, and finally stops tracking to film the frozen dead body of a mobster hanging on a meat-hook; and 3) the shot of Henry and Karen entering the Copacabana night club, weaving their way through the back entrance, the hallways, the kitchen, and all the way to their seats, a shot in which the audience’s aesthetic excitement mirrors Karen’s excitement about her back-door entrance into the club and her date’s astonishing privileges. The long tracking shot of La Motta as he enters the ring before winning the middle-weight crown from Marcel Cerdon rivals any of Scorsese’s others in terms of its dramatic impact and dazzling display of virtuoso technique. For this extravagant shot, Scorsese and Chapman took advantage of the recently invented Steadicam camera stabilizing system.16 First used commercially by Haskell Wexler in Bound for Glory (1976), the Steadicam enabled a camera operator to obtain smooth tracking shots using a handheld camera. It cut production costs by eliminating the need to lay tracks or use dollies or cranes and allowed operators to film more easily and smoothly in cars, on boats, moving up and down stairs, etc.17 Scorsese and Chapman also used the small, lightweight Arriflex 35 BL camera18 that allowed them, without ballooning production costs, to create complex point-of-view shots and smooth tracking shots, to quickly reorient the camera in the middle of a shot, and to use makeshift rigs in order to, Scorsese has said, “get the cameras flying the way I wanted.”19 The tracking shot of La Motta entering the ring takes full advantage of the beneficial features of the Steadicam and the lightweight Arri BL. I want to focus in particular on the ways in which the shot uses the rig’s tractability and smoothness to cause the spectator to adopt the perspective of various “identities” that transform seamlessly as the camera progresses toward the fighting ring. The shot begins in La Motta’s dressing room where we see him warming up for the match (figure 9). The medium shot is confined by the dressing-room walls as well as by as the presence of Jake’s brother Joey (Joe Pesci) and two trainers. The intimacy of the moment and the tightness of the shot align the spectator with La Motta’s entourage, who watch him prepare for the most important fight of his career. As La Motta finishes donning his robe, the camera begins to track backward into the hallway outside the 9 dressing room. During the backward tracking shot, we see Joey in the front of the frame, La Motta in the middle, and glimpses of the two trainers behind (figure 10). The shot of La Motta and his entourage, as the camera winds through the corridors, is familiar from numerous documentary films (such as Don’t Look Back [1967] and Richard Pryor: Live in Concert [1979]) of singers and comedians as they enter an arena, and, at this point in the shot, the film adopts the look of a performance documentary. (The Last Waltz, Scorsese’s 1978 documentary of the final concerts of The Band, contains a similar shot through the corridors of a recording studio.) The impression of a documentary film is strengthened when we start to see and hear fans cheering La Motta along, since in such films we generally feel we have privileged access to the performer, traveling with him as he moves through a crowd of fans (figure 11). figure 9 figure 10 figure 11 figure 12 figure 13 Figures 9-13: Steadicam Shot in Raging Bull 10