Raging Bull: An Example of Stellar Editing

Martin Scorsese's Raging Bull is more than just a good story. Rather, it is a film which demonstrates just how vital editing is to capturing the essence of a scene both in what is actually happening in the scene as well as the emotions it elicits.

While there are many examples that capture the powerful utilization of editing in Raging Bull, some of the best take place in the boxing ring. Although, for a movie about a boxer, there are not that many boxing sequences, the few that occur are exceptional. Among these, one the best occurs during Jake LaMatts's climatic fight with Sugar Ray Robinson. That is, the scene in which LaMatta loses his title.

One impressive element of editing in this scene is the cutting of the scenes in order to enhance the speed of the fight. As Sugar Ray begins to get the advantage in the fight, the series of punches he throws are achieved by several short cuts which seem to be sped up in order to capture the intensity of the blows LaMatta receives. This is followed by an incredible interesting use of slow motion shots which definitely add to the suspense of the scene. As LaMatta is pinned to the ropes, Sugar Ray advances toward him in slow motion. The viewer knows that LaMatta is about to get pounded and that there is nothing he can do to prevent it. The slow motion continues as Sugar Ray throws the first jarring punch, knocking the sweat off LaMatta's body. After this the scene alternates between slow motion and high speed punches. The intensity of the fight emphasized even more as the shots rapidly cut to extreme close ups of LaMatta's face, his wife anguishing in the audiences, the blood pouring down his legs, etc.

LaMatta’s last fight—and all the boxing scenes for that matter—are unique from other boxing films due to Scorsese’s insistence on editing the scene in such a way that the audience feel like fighters in the ring rather than spectators to the fight. For most of the scene, we see the boxer who is taking the punches rather than both Lamatta and Sugar Ray throwing punches at each other. This adds to the intimacy and engagement with the film that surpasses what happens outside of the boxing ring. In other words, the editing has a way of connecting one with LaMatta's character so that one roots for him in spite of his glaring personality flaws.

Raging Bull certainly is not what you'd call a "feel-good movie" but that does not mean it is devoid of emotion. In fact, the editing is used so masterfully that it is possibly one of the most emotional expressive films I have ever seen.

Take a look for yourself...

Raging Bull

Last night in film class we watched Martin Scorsese’s Raging Bull. I really enjoyed the film, which was not much of a surprise considering I’m a fan of Scorsese films. You could then ask why this is the first time I’ve seen Raging Bull, but you won’t…

I definitely through the editing in Raging Bull was exceptional. I loved the way slow motion shots were used to enhance the boxing sequences. I also loved the way Scorsese and Thelma Schoonmaker styled the boxing to look like black and white photographs out of Life Magazine. There’s something very romantic and nostalgic about 1940s style boxing.

However, I think that I would like to watch this film again in order to focus solely on the editing. Last night, I found myself taken by the other elements of the film such as the [largely] improvisational dialogue and the cinematography. I know that Raging Bull is a biographical film but both these elements made the story even more believable and intimate.

It’s important to mention, however, that I was much more enchanted by the first half of the film. While Jake LaMotta’s personal life was far from perfect, I found the latter half—where Jake really starts to degenerate—almost too sad to enjoy the rest of the film. Nevertheless, I would have to say that, in the end, the editing, dialogue, cinematography, and overall engaging story win out, making Raging Bull a film worth watching again and again.


Image from: http://www.flickr.com/photos/29185076@N05/2735155855/

Jean-Luc Godards’s Breathless certainly made for an interesting film watching experience. It was not very far into the film—the scene where Michel Poiccard is complaining about the traffic—that I was dreading having to watch it through to the end. True, Breathless is only 90 minutes long but I thought it was going to be 90 minutes of Godard’s annoyingly avant-garde muse. It was not the film’s unconventional (for its time) editing that bothered me. I actually really enjoyed the editing style and had no trouble following the plot. The issue was that the quality lighting and filming seemed poor, which initially made it difficult for me to get into the film. As the story progressed, however, I definitely got caught up. As roguish as he is, I did fall for Michel Poiccard’s charm. In spite of that fact that he’s somewhat of a scoundrel and in spite of that fact that I know French movies often do not have happy endings, by the end of the film, I was rooting for Michel. I wanted to see him escape and I wanted Patricia to run away with him to Italy. Even though I did not get the happy ending I hoped for, I was happy that, after she ratted him out to the police, Michel's last words were to tell Patricia that she was a scumbag. Although the editing style of Breathless is no longer unique, the story itself certainly is. I am not sure whether the lighting and filming seemed to improve as the film went or whether I become so engrossed in the story that I forgot to notice. In any case, my initial reaction to the film proved incorrect as I was eventually very wrapped up in the fates of Michel and Patricia. I found that the editing, and subsequently, the story are easy to follow as long as you are willing to engage with the film and place yourself in the character’s positions.


Image from: i265.photobucket.com/.../jagfilm/breathless.jpg

In Spike Lee’s Do the Right Thing, there are numerous examples of props being used instrumentally, metaphorically, culturally, and contextually. The most poignant example of prop usage is the metaphorical significance of Radio Raheem’s radio. Throughout the film, the radio distinguishes Radio Raheem’s character. However, it is not until the end of the film that one realizes how essential to the plot Raheem, and particularly his radio, will be. In this sense, the radio is the opposite of the money In Hitchcock's Psycho, which strings the viewer along only to be completely nonessential to the plot in the end. One could argue that the radio is a metaphorical prop through the entire film. However, its metaphorical significance is only realized after Sal smashes it. The silence of this scene often tricks viewers because they think that the dramatic smashing of the radio will cause the characters to snap back to reality and/or recognize that the pettiness of their argument is rooted in something bigger and deeper; the struggle between love and hate that Raheem mentions earlier in the film. One quickly realizes that this is not the case almost before Sal finishes his sentence. Instead, Sal’s comment about “killing” Raheem’s radio denotes that Raheem himself is also going to be killed. Even if one initially misses the foreshadowing behind this line—and also the destruction of the radio—it comes back to haunt you after Raheem’s death. Spike Lee’s use metaphorical use of the radio in Do the Right Thing is so profound because shocks the viewer and propels the narrative forward to the climax of the film.


Image from: bp1.blogger.com/.../XS6N1NpNdGI/s320/raheem.jpg

I have not seen many Spike Lee films. In fact, I think Do the Right Thing was his first early film that I’ve actually seen. Thus, going into the experience, I was somewhat skeptical because I know that many of his films receive a great deal of criticism from individuals who believe they only reinforce negative African American stereotypes. I did end up enjoying Do the Right Thing but I can understand where these critics are coming from. I know it is not Spike Lee’s intention to promote stereotypes, Do the Right Thing just requires an audience that is willing to think critically about the film’s true message. The whole time I was watching the film, I kept thinking about how the message of Do the Right Thing would totally backfire if someone watching this film wants to relate to or take sides with a particular character such as Radio Raheem or Sal. For this reason, I was really happy that Spike Lee included the quotes of Martin Luther King and Malcolm X in the final credits. As long as the audience understands the message, the film is ingenious. I loved the way the lighting captured intensity of the heat. The way the plot seems to drag also adds to the sense of rising tensions which explodes into the shocking and violent climax. Finally, I thought it was very clever that the morning after the riot, the scene opens to a day that is just as hot and intense as the previous morning. This demonstrates how the community is no closer to resolving their hate. So, while I can understand critics’ concerns, the fact that Spike Lee’s Do the Right Thing is so real and unapologetic, challenges stereotypes and hate rather than reinforces them.


Image From: www.cinepad.com/images/dtrt.jpg

The Role of Mise-en-scene in The Godfather

There’s nothing worse than a book or film with one-dimensional characters. Not only are they incredibly unrealistic, but the whole time you feel as though you are being told what to think and feel about that particular character. Naturally, not all the characters in The Godfather are explored as deeply as others, yet, none of them seem like flat characters. Vito Corleone, for instance, is the protagonist which seems to guarantee that he will not be one-dimensional. However, the fact that he is the head of an Italian crime family has the potential to make him a flat, unsympathetic character. Thanks to the aid of mise-en-scene, (staging/design elements) Vito Corleone is more than just a Don, he’s a husband, father, a grandfather and in some respects, a regular man.

Throughout the entire film the subtle details of Mise-en-scene portray Vito Corleone in a way that seems classy and even sympathetic; it is easy to forget the nature of his work. Thus, it was difficult to narrow down one scene in which the Mise-en-scene does not contribute greatly to the depth of his character. However, the scene where Vito Corleone dies is one of the best examples because the mise-en-scene also conveys the change that has occurred in his life. At the end of the opening scene, after Vito agrees to help Bonasera, he states, “Give this to, uh, Clemenza. I want reliable people, people who aren't going to be carried away. After all we're not murderers in spite of what this undertaker thinks.” Even at the end of the film, after all he has done, this line is still believable. Much of this is due to the costume’s Vito wears. Throughout most of the film, Vito is attired in a tuxedo or the classic mobster suit; this gives him that classy, gentlemanlike look. At the end of his life, however, Vito wears flannel shirts and corduroys which demonstrate that he is getting older and make him appear very sympathetic. Like the early scene in the film where Vito is gunned down in the street, this look conveys that although he is a powerful, respected man, he is not invincible.

The scenery is also very important. Unlike the close, private business that takes place in the Corleone home, Vito is playing with his young grandson, Anthony in the tomato garden when he experiences the heart attack. Although this scene is quiet and intimate, the fact that it is outdoors and that the tomatoes are still green and growing gives the scene a great deal of liveliness. The open space and movement is a complete departure from the scenes which take place in the office.

Another important element of this part is who is present in the scene as well as who is not. In most scenes, Vito is surrounded by Sonny, Michael, Tom, etc. In this scene, however, Vito is alone with Anthony. The viewer may be subtly reminded that Vito is a powerful and dangerous man as he playfully scares Anthony with the “orange peel fangs” and chases him around the yard. Yet the overall image of him playing with his grandson probably leaves the viewer with sympathetic view of him. This is another scene which that hints that Vito is a regular man who loves his family.

The carefulattention paid to mise-en-scene in The Godfather is critical to the film, particularly the character development of Vito Coleone. Without such clever and subtle detail, he would have been an unrealistic, unsympathetic character which a viewer might judge solely on his role as a Don.



Picture from: http://daily.greencine.com/archives/the-godfather.jpg

The Godfather

It’s no surprise that The Godfather and Apocalypse Now are both Coppola films. His style and gift for story telling are what make both films legendary. While I have to admit that The Godfather is more of a favorite for me than Apocalypse now, the reasons I appreciate both films and Coppola’s work in general, are fairly similar. As I started in my previous post, Coppola films are amazing because they are jam-packed with detail and activity yet the story is cohesive and well told.

First of all, I love The Godfather simply because the story is engrossing. True, it is a long film but it never seems to drag on or include scenes that should have been left on the cutting room floor.

As I said before, detail is another aspect of the film that I greatly appreciate. The details which make up Don Vito Corleone's character are particular favorites. I love that he has his cat in his lap while talking “business” and the way he smells his corsage. These are just little details but they really add to his character. I also like the way that after action/shooting sequences, the scene will cut to Vito in his office saying “humph” or something to that effect.

Not only is there a great deal of detail in this film, there is also a great deal of activity. Almost every scene is filled with people, events, and objects. Connie Corleone’s wedding scene, for instance, is absolutely packed with guests and the activities that they are engaged in. It is as though there is no room left in the frame. It is also impressive that parts of this story take place in New York, Sicily and Las Vagas and yet this does not fragment the plot or make it too confusing.

These are the elements that make The Godfather one for the books. Coppola’s gift truly is in telling a story with tons of detail, layers, and activitiy that do not detract, but actually add to the plot.





picture borrowed from http://en.wikipedia.org/wiki/The_Godfather