The Cavalleria rusticana makes the scene celestial, dreamy, elevating LaMotta’s furious display to the level of graceful performance. Instead of moving in tandem with or in the same direction as the action, the music runs against the scene, playing in stark contrast.
Both opening sequences share the perfect music – here, it’s “Intermezzo” from the opera Cavalleria rusticana by Pietro Mascagni – as well as incredibly visualized soundscapes, beautiful black-and-white cinematography, and a sophisticated yet gritty production design. The opening of Raging Bull bears something uneasy, yet refined and languorous, somewhat reminiscent of the quiet roll of the marble in the opening of To Kill A Mockingbird.
Indeed, “give me a stage where this bull here can rage… that’s entertainment.” A row of people sit, silhouettes in judgement, while flashbulbs pop and die with the slow pace of the events about to unfold. The ropes of the ring are frames, like bars of music.
Robert DeNiro’s Jake LaMotta is a coiled animal, caged like a note on sheet music: fierce, balletic, and balanced to its function.
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