Page 6 University Daily Kansan, March 4; 1961
10. (A) 30
On Campus
TODAY
THE UNIVERSITY FORUM will present Roger Fisher on "Conflict Resolution in Global Perspective" at 11:45 a.m. at the Ecumenical Christian Ministries Center.
SXMPOSIUM OF CONTEMPORARY MUSIC
CONCERT will be performed at 2:30 and 8 p.m.
at the Swarthout Recital Hall in Murphy.
KU SAILING CLUB will meet at 7 p.m. in the Council Room of the Kansas Union.
THE THEOLOGICAL SEMINAR ON PRAYER will discuss "Prayer Without Ceasing" at 4:40 p.m. at the Ecumenical Christian Ministries Center.
CONTEMPLATIVE PRAYER SESSION will be at 7:45 a.m. at the Ecumenical Christian Ministries Center.
LA MESA ESPANOLA (SPANISH TABLE)
will meet from 11:30 a.m. to 1:30 p.m. in 3059 Wescow. All native speakers and students of
Spanish. The table is sponsored by Sigma Delta PI.
JAYHAWK TOASTMASTERS will hold its
international Room of the International
Room of the
WOMEN AT WORK LUNCHON SERIES will sponsor "Reflections of a Woman Artist" from noon to 1 p.m. in Alcove D of the Union.
LAWRENCE COLATION FOR PEACE AND JUSTICE will host Roger Fisher, Harvard law professor, speaking on "The Limited Role of Justice in the Injustice" at $4 p.m. in the 8 Room of the Union.
TOMORROW
ACADEMIC COMPUTER CENTER
SEMINAR on "Remote Batch Entry from Time-
Sharing" will be held at noon in the Auditorium
of the Computer Services Facility.
STUDENT BAR ASSOCIATION FORUM will present Wendall Harmons on "Alternatives to Traditional Legal Practice—The Public Interest Law" at 12:30 p.m. in 104 Green.
UNIVERSITY WOMEN'S CLUB will present
it's a Small World" at p.m. in the Watkins Rink
and at 10:30 a.m. on Thursday.
THE GAY AND LESBIAN SERVICES OF
INTERNATIONAL ROMANCE p.m. in the
International Room of the Room
GRADUATE SCHOOL TEA AND TALK LECTURE with Tony Genova on "The Justification of Principal's" will be at 3:30 p.m. in the Centennial Room of the Union.
PHOTOJOURNALISM STUDENTS ASSOCIATION will meet at 4:30 p.m. in 119 Flint. Anyone interested in photojournalism is welcome.
THE LIFE-ISSUE SEMINAR ON SPIRITUAL DISCIPLINES will discuss "Simplicity" at 7 p.m. at the Ecumenical Christian Ministries Center.
THE ACADEMIC COMPUTER CENTER will sponsor an "Introduction to SCSS" at 7:30 p.m. in the Auditorium of the Computer Services Facility.
LA MESA ESPANOLA (SPANISH TABLE)
meet from 11:30 a.m. to 1:30 p.m. in 3069
HOPELE
THE STOUFFER NEIGHBORHOOD
AUTHORITY will meet at 7:30 p.m. in the
Satellite Unite
Starring Robert DeNiro, Cathy Mortier, Jose Pesci, screenplay by Markid Martin and Paul Schrader, directed by Martin Scorese. Now playing at the Hillcrest Theatres.
By MIKE GEBERT
RAGING BULL
"Raging Bull" would be one of the greatest boxing movies ever made, except that it not "blows."
Contributing Reviewer
Viewers admire fighter in 'Raging Bull'
There are really only two boxing movies in the same league as "Raging Bull." One is Robert Wise's 1956 "Somebody Up There Likes Me," which starred Paul Newman as Rocky Graziano. Newman was the same kind of angry dead-end punk that DeNiro is here, but while boxing gave way out of the slums, it need LaMotta's savagery, putting it in a controlled atmosphere.
It's about a boxer, Jake LaMotta (Robert DeNiro), a creaked, sado-masochistic fighter who tries to live like a boxer out of the ring. Martin Soreseau's film echews both the manipulative competitiveness of a "Rocky" and the anti-boxing moralizing of a "Golden Boy." It's not a matter of who wins, but how Jake LaMotta plays the game—and he plays it brutally and to the utmost, savagely demolishing his opponents and gleefully absorbing the weight of their punches.
THE OTHER IS Robert Rossen's very great "Body and Soul," with John Garfield (obviously a model for DeNiro here) as an alternately manipulative and manipulated up-and-comer. But DeNiro doesn't have that sense of upwardness. Rossen has proved himself to prove himself to a world that doesn't care. And when, as he ages, he loses the magic of the ring, he's lost.
The ring is treated by Scorsese *mw aww* in a place of pre-civilized battle. The boxing scenes are shot impressionistically, as they might appear to a fighter who has endured fourteen previous rounds. The punches are amplified to the effect of an explosion of a howitzer. In close up, we fight, while the characteristic camera work in extraordinary, newsreel-like black and white by cinematographer Michael Chapman gives the old world of the ring an amazing cinematic vitality that makes LaMotta's avagery almost impossible to miss. The helicopter scenes in "Apocalypse Now." It is the closest we come to understanding the fury and love of pain in this movie.
The non-boxing scenes are less memorable; no doubt that is how it was for LaMotta as well. He argues with his first wife, meets his second, argues with his manager and brother (Joe Pesci), becomes insanely jealous of his wife (Cathy Moriarty), agrees to throw a fight, becomes champion, loses to Sugar Ray Robinson (Cathy Moriarty), as he grows fat, he loses his vital retirement, as he grows fat, he arrested for pimping a fourteen-year-old. He continues to inhabit the outer rings of show business, making a poor stand-up comic. Fifteen years after retirement, whatever he had is gone.
DeNiro gives an extraordinary performance, and one that will probably net him his second Oscar. But one cannot say that DeNiro really reveals LaMotta to us. He is a crazy man who might explode at any moment. He is a little too harsh when joking with the small-time hustlers on another operette, with, and he is so jealous of his wife that he eventually drives her away.
TAUNTING PEOPLE, demolishing a young fighter's face because his wife called him
"pretty," facing Sugar Ray after their fifth and last fight and telling him (though he can barely see or stand) that Ray never knocked him out, LaMota is still an enigmatic psychotic, a man whose mind works differently from everyone else's. Only when LaMotta gains weight, ages and dissipates his animalistic rage do we understand him.
The mythic part of Martid Martin's and Paul Schrader's screenplay works with DeNirno; it does not always work with other characters. Schrader has clearly demonstrated in his own films "Hardcore" and "American Gigolo" that he hates women and is repelled by sex in the manner of the censor who can't tear himself away from the pornography he is censoring.
The character of Vickie, LaMotta's second wife, is obviously inspired by Lana Turner's roadhouse seductress in "The Postman Always Rings Twice", but where Turner was Moss Mortality as Vickie is as praternatal than DeNiro, sending men to doom by accident.
She is naïve, basic and incredibly sexy, and it is easy to see why LaMotta becomes fanatically protective of her. If she is a realistic character, that's another question.
MORE REALISTIC are the various small-time hoods and wheeler-dealers around La Motta, led by Pesci as his brother/manager. He has the ability to keep things on easy to see why he never got his name in the paper.
The paradox of the film is that we have a natural instinct to admire LaMotta over his brother, or the grocer down the street, or Albert Schweitzer or anybody. LaMotta busts people's faces and we cheer him on; when he stops we lose interest in him. Scorsese and DeNiro can make LaMotta as ugly as they want and there's still a part of us that cheers.
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