come on! come on, come on, what are you staring for? come on! robinson apparently tired, punched with a fairly well and rocked jake lamotta right to his heels. come on, ray. a director and actor find a story at the right time and the right place. and out comes this amazing combination of cinematic virility and absolute fear. it s like watching an animal. i think raging bull is a great title and the film fulfills the promise. the reality of the boxing and the great slow motion, all the black and white gore. the violence of the flashbulbs going off. when he designed the movie, marty purposefully, he didn t put a clutch on the film. there s no clutch. hey, ray, never went down, man. you never got me down, ray. raging bull is a boxing movie for people who don t like boxing because it s really not about that. it s about this man, jake lamotta, who was based on a real person, who s really at war with himself. come on. harder. harder. i didn t really unde
i know your work well, signor. do you know, i-i actually compose some variations on a melody of yours? oh, really? which one? mio caro adone . well, i m flattered. a funny little tune, but it yielded some good things. the protagonist of the movie is not mozart. the protagonist of the movie is salieri, who is actually deficient. he s not a great artist. he doesn t have great inspiration. he s jealous of mozart, who does. shouldn t it be a bit more or this? this. yes. the most intelligent and rational individual in the movie is the jealous figure who isn t particularly talented, and the least rational and mature figure in the movie is the genius. when i saw amadeus, there