I've done a lot of bad things, Joey. Maybe it's comin' back to me. Who knows? I'm a jinx maybe. Who the hell knows?

No 11 - Raging Bull

Director - Martin Scorsese

Oh Blog.... I've neglected you. I'm like an absent husband taking advantage of you as you wait for me, scared of what I might do next....

Which dovetails nicely to RAGING BULL - the story of a horrible shit of man who is in no way likeable throughout the film.

Seriously - Jake La Motta is a horrible bastard of a man. Now... I'm not necessarily talking about HIM personally (never insult a boxer) - but certainly his character in this film. Bastard.

I don't want to dwell on this too much as it would just be a list of character flaws and violent outbreaks - also, I saw this film ages ago and lost all my notes - but this is a man who mixes dangerous levels of paranoia and arrogance. He is quick to temper, and quick to get violent. He leaves his wife for a girl of 15 and continues to abuse and bash her around anyway.

He is a nasty piece of work. But the film never shies away from it. It gets right in there. Sticks close to the screaming and the flying crockery. Clinging to the fiery Mediterranean outbursts of rage. It is close up, hyper real and ugly.

The perfect counterpoint the boxing scenes.

Scorsese films the boxing scenes in a similar way to the scenes of domesticity - the camera is up close, in the face of the violent. But the image seems softer, the movements more dreamy. Often the scene's sound is faded out and replaced with music.

As soon as La Motta steps into the ring, the film takes a fantasy twist. It becomes beautiful to watch.

Just look a the silent moments of confrontation in this video between Sugar Ray and Jake La Motta. The cinematography is brilliant.... from the stark use of Red in the opening credits

to the final sequence in which a fatter, older La Motta memorises a speech - talking to his reflection in an awkward monotone delivery: It all looks amazing.

Which brings us to the other of the film's key strengths.... De Niro.

De Niro's transformation throughout this film is phenomenal. It is a tour de force, not only in acting as he creates a rounded, deep, flawed and layered character from someone who could easily be a 1 dimensional fucker, but also in the physical dedication. As the film progresses, we see La Motta gain weight, as he loses the will to fight and just gets lazy with his riches. It is impressive because it happens over the course of the film, but it is more impressive because it sneaks up on you.... you don't notice it at first, until he's parading around topless on the beach. It makes it much more striking than the films which just cut to a point where the protagonist is super skinny or fatter.

The slow creep of fat is similar to the majority of the film. The film's knockout punches are the fights. Amazing shots which have become iconic and which are frequently paid homage to in films where punches are thrown.

The rest of the film is more of a creeper. Growing on you, slowly, and horribly.... getting under your skin as you watch the rise and fall of a cruel cruel man...

Now here come two words for you: Shut the fuck up.

No 317 - Midnight Run

Director - Martin Brest

I have decided I don't like having a job anymore. Specially not one which goes mental busy for 2 or 3 weeks at a time. 2011 has been pretty shocking when it comes to film watching and blog updating. I promise to rectify this as much as I can.

Lets crack on

Midnight Run had me hooked from the moment the awesome score and '90's sitcom' style title credits came up (about 2min30 through here) - but then, it grabbed me either further, with music by Danny Elfman. But this music is different to the standard Danny Elfman fare (which stems from his Tim Burton work but is now in most of the scores that he does). I mean just listen to it!

Danny Elfman - Midnight Run Score Suite

So, we have something which sounds zippy and funky (from an unexpected source) and which sets the tone for this film. A film which is really both a buddy movie and an utterly farcical chase. This was back in the 80's when De Niro could be really funny without falling into terrible self parody:

Here, he plays on familiar ground. His Jack is a pent up aggressive wise guy with a dirty dirty poop mouth - playing the role with the same intensity that is there in his more serious films, but allowing the smart alec within Jack to really shine.

His character manages to share some great scenes and there is some excellent dialogue shared with Yaphet Kotto's FBI agent or with Joe Pantoliano's fabulously '80's Eddie Moscone.

The plot is simple. Jack has 5 days to retrieve a fugitive and bring him back to LA. Over the course of these 5 days, an ever growing and ever confusing list of other parties try and also get the fugitive.

This means we end up with manic chase sequences, moving from planes, trains and automobiles. It sets up some excellent set pieces and makes for a film which is really quite amusing. But where it shines are the little moments which change tone. After all, if this was just a madcap chase movie we'd end up with a far inferior product.... What we also get, is a pretty deep buddy relationship.

De Niro's Jack spends most of the film handcuffed to Grodin's John Mardukas. Despite Jack being in the top 3 bounty hunters I've seen, he clearly has issues, he clearly needs help from the far more peaceful Mardukas. As Jack tries to get his money, John seems to try and better Jack's complicated (and pretty sad) life.

Its those more sober moments, when the two genuinely bond, which are the film's strength. These moments of tenderness and the gentle unchipping of Jack's tough rough persona lie at the heart of everything, and make the complex tying up of plot strings into something really satisfying. Without ruining the awesome fun of the madcap moments throughout it all.

Bloody good film