公牛

前段时间印度电影《摔跤吧！爸爸》大火，印度国宝级男演员阿米尔·汗在影片里的精彩演出也是最值得称道的地方。其中阿米尔·汗先分别完成了角色19岁以及55岁的戏份，两者之间体重相差28公斤。不过类似的情况其实著名演员罗伯特·德尼罗早在1980年的《愤怒的公牛》中就经历过，影片中罗伯特·德尼罗为了更好的扮演老年的杰克·拉莫塔特意创记录性地增重60磅。而片中罗伯特·德尼罗极为精彩的演出不仅为电影增色不少也为他获得了一个小金人。

该片根据前世界中量级拳王杰克·拉莫塔的真实经历改编。讲述的是一代拳王杰克·拉莫塔一生中从成功到失败的过程。当时的导演马丁·斯科赛斯因为前一部电影《纽约，纽约》的失败而饱受疾病和毒品的困扰，罗伯特·德尼罗去病房看望他时把杰克·拉莫塔的传记扔在病床上说我们应该拍这个。斯科赛斯由于被杰克·拉莫塔的故事打动最终决定开拍，事实证明这部经典的作品也完成了马丁·斯科赛斯自我的救赎。随后更是不断拍出了《好家伙》、《华尔街之狼》、《无间行者》、《纽约黑帮》等一系列卖座又好看的作品。然而我觉得《愤怒的公牛》依旧是他最好的作品，这和电影的受欢迎以及票房没有关系，有点像中国导演陈凯歌的《霸王别姬》、张艺谋的《活着》，只是在后续作品的创作上马丁·斯科赛斯似乎更出色些。

很多人把这部电影看做是一部关于拳击的电影。尤其是年轻些的观众很有可能是看过《洛奇》、《百万美元宝贝》、《拳王阿里》等非常优秀的拳击电影之后听说有一部叫做《愤怒的公牛》也很经典便去看看，结果很有可能会有点失望，因为这部电影既没有大量的拳击打斗场面也没有激励人心的励志。准确的说其实《愤怒的公牛》不是一部拳击电影，只是运用拳击这一题材表现一个在生活里极度缺乏安全感的男人寻求惩罚和救赎的故事。

把眼光放在电影关于拳击的场景上是不能完全感受导演想要表达的东西的，尽管在当时影片对于拳击打斗场面的拍摄在当时是极其出色的。大约只有10分钟左右的拳击镜头斯科赛斯原本打算花2周拍完，而实际上花了将近10周。斯科赛斯只用了一个摄像机拍摄，而且在擂台上近距离拍摄，让观众可以近距离看到激烈的打斗，他还在这些镜头里加入了大量特效和和各种人群的嘈杂声、动物的叫声、闪光灯爆破的声音，最后修恩梅克进行了出色的剪辑。最关键的是片中展现的血腥也是当时前所未有的，影片之所以选择拍成黑白片，除了因为拳击手套颜色会让影片底片将来会褪色以外，用彩色会过于展现血腥的场面也是一部分原因。

这些技术在当时都算是最顶尖的技巧，然而对于30几年之后我们来说确实有些过时。然而评价一部电影必须考虑考时代的背景，否则诸如像豆瓣里排名非常靠前的一个关于这部电影的评价“拳击戏太假了，演了些什么鸡巴东西，隔着20厘米呢就装被打脸了，剧组不给报医药费那俩逼钱还是咋地？你们就这态度还拍鸡毛电影呢？”。可能在30年后我们在《阿凡达》底下也能看到类似的评论：“这电影用的什么烂技术啊，当时剧组没钱了么，假的还不如在家看电视呢，那时候的人是不是不会看电影啊，不然怎么可能让这部电影在电影票房第一名呆这么久。“然而我想现在应该没有人会这么评价《阿凡达》吧。

电影其实注重描述了杰克的生活，而拳击场上发生的一切更像是他对生活里遭遇的发泄。电影上映之前斯科赛斯甚至担心电影能不能顺利播出，他担心的自然不是因为电影过于血腥，而是电影真正想要表达的内容，尽管他已经十分隐晦了。

导演马丁·斯科赛斯作为虔诚的意大利裔天主教徒，在他的电影作品里几乎都透露着宗教以及意大利裔文化对他的影响。影片里的杰克对女人其实有一种非常矛盾的心态，弗洛伊德把这种心态叫做”圣母妓女情结“。在杰克眼里没有失身的女子是完美的女性，而和他发生关系之后就变成了怀疑的对象。所以在整部电影里可以看到导演用了大量杰克怀疑妻子不忠的镜头表现这种心态，其中在影片开头杰克对前任妻子所说的牛排烤老了就失去了意义其实就十分明显的告诉我们主人公有这种奇怪的心态。

导演并没有打算把杰克塑造成一个英勇的拳击手，而是像塑造一个自卑，害怕以及性无能的男人。性无能的问题可能很多观众没有看出来，其实一开始我也没注意到。但后来在罗杰的影评以及一些影评资料里发觉了这一点（可能由于审查等原因导演没有明显交代相关背景，就算是杰克有这种心态也是隐晦的表达）。童年悲惨的遭遇使得杰克拥有了病态的心态，而杰克处理问题的办法就是使用暴力。

拳击就是杰克使用暴力最好的舞台。影片中杰克的妻子提到了他的一个对手挺帅的，杰克便勃然大怒，不仅对维琪大发脾气，在拳击场上也把对手的脸打了个稀巴烂。打完比赛后，杰克没有第一时间看对手和观众，而是看向了他的妻子。这里就很好的体现了杰克如何用拳击对抗自己的生活的。

影片里的杰克没有办法信任女人，即使是他深爱的妻子。他对妻子强烈的占有欲以及自己对性的恐惧让他变得不可理喻，无法沟通，而拳击便成为他唯一发泄的途径。童年遭遇产生的病态心理、不可理喻的家庭暴力、令人心寒的嫉妒。这些或许才是影片通过杰克的行为真正想试图传达的东西。如果你读过《奥赛罗》或许更加可以理解这种嫉妒情绪有多么可怕。对这里不太明白这些背景的观众可能会对杰克的行为感到奇怪，甚至觉得电影讲的故事没什么逻辑，这其实和当时话题的敏感不无关系。

杰克作为暴力的施行者却也是一个受害者，我们从他在拳击场上好几次被动的接受对手的殴打却怎么都不愿意倒下便可以感受的出来他有多么的痛苦。影片最后也对杰克进行了救赎，在街道上拥抱自己的弟弟祈求原谅是一种救赎，在化妆间对着镜子背诵《码头风云》里是台词也是一种救赎。杰克开始意识到自己的问题，但这些问题只有自己明白，所以只有自己才能实现救赎。

"我只知道：我曾经眼瞎，现在，我重见光明；不安与无畏、冷淡与狂热混合的矛盾体，任命运风生水起或急转直下，他永远只是一头愤怒的公牛。"

   If we intend to list the top 10 directors in the 60s in states, I guess no one would vote for nay to Martin Scorsese. This short man with 1/4 Italian descent constantly presented some glorious creations during the 60s and 70s. People always scorn that he is the uncrowned king with no title from the affection of the academy in his golden times, but who cares; he got the affirmation from the massive film fans. Martin is a productive and versatile director if you try to take a peak of his works. However, martin’s motif and style is simple as hell, the could be concluded as the autobiography of rock music, mafia and gang hustle, Hemingway’s hero, and marginalized population. We all knew that martin has two particularly favored actors, the former one is Robert De Niro, the latter one is Leonardo Dicaprio. The two guys witnessed the ups and downs of his career and also, they mutually inspired each other in artistic level. With some sort of coincidence, the two actors nearly monopolized 70% of the marginalized characters in martin’s film. I saw Taxi Driver, Shutter Island, I saw The Age of Innocence and The Departed. I called my self the firm supporter of martin. I love De Niro for sure, however with some weird resistance without cause, I just reject to watch The Raging Bull.(probably as a female, Im just not into any film in the theme of the fighting), until recently, an imp of impulse pushed me to see The Raging Bull in 3th May, 2015. and once again, im completely overwhelmed by the vibe of the movie and De Niro’s amazing acting. I mean, sometimes martin’s film is so unique that is impossible to be imitate, his heroes even gave the similarity with Hemingway’s characters whom is rebellious and destined to be doomed in life , fight with the reality without purpose, fight in an even perverse way with the fate, but at the same time, they have some kind of inner strength in mind nevertheless it is not ranked as aspiration or belief. In literature, we call Jake a round character, an anti-hero, which means he or she is mixed in personality and action, who could be a evil & good, savior and sinner, black and white at the same time. Jake is paranoid, violent, suspicious, and chauvinistic, we hate all of it. But equally, he has a gentle and soft side, he never lose his dignity and pride, he fight to the last minute. We saw a man who lives in the dumps at the late years, it is the tragedy of personality, and also it is a self- choice. Are you feeling sorry for him? Maybe the majority of us would say no, because we see a man who can be crushed but cannot be defeated.

拳赛之前


1976年，罗伯特·德·尼罗在意大利跟贝托鲁奇拍摄《1900》时，身边总带着一本翻得已经破烂不堪的书《杰克·拉莫塔》。这本由拉莫塔和彼得·萨维奇等三人合写的传记小说回顾了拉莫塔——这位美国传奇的中量级拳王的20年辉煌生涯，德·尼罗并非铁杆拳击迷，但被拉莫塔的独特气质所吸引，他把书推荐给了马丁·斯科西斯。斯科西斯对运动一窍不通，所以他对此毫无兴趣。

一年之后，斯科西斯与德·尼罗合作的《纽约纽约》遭遇了票房滑铁卢，他的婚姻也遭遇了危机，自己又偏偏生病住院，种种打击之下，斯科西斯对电影心灰意冷，德·尼罗看望他的时候再度推荐了拉莫塔的传记。在病床上阅读这个大起大落的故事，斯科西斯感受到了前所未有的认同感，创作灵感迸发，他决定把这部电影当成自己的收山之作：干完这票就离开好莱坞这个是非圈。

与斯科西斯合作过《纽约纽约》的制片人欧文·温克勒和罗伯特·查道夫此时正因《洛奇》的大卖而春风得意，联美公司要求他们继续拍摄类似《洛奇》拳击电影，因此对斯科西斯拍摄拉莫塔传记片很感兴趣。

德·尼罗是《愤怒的公牛》（Raging Bull）得以立项的重要元素，他除了游说斯科西斯之外，还与拉莫塔见面倾谈，并让拉莫塔开始以训练一个真正拳击手的标准来训练自己。拉莫塔和德·尼罗两人对练超过了一千场，拉莫塔称赞德·尼罗有拳击天分，他甚至夸口说：假如德·尼罗退出演艺圈，自己完全可以把他培养成真正的中量级拳王，据说此时德·尼罗虽然已过35岁，但挥拳有力如19岁的拳手。

斯科西斯在家里播放一些拳击手的资料片，英国名导迈克尔·鲍威尔（《红菱艳》）看了之后觉得拳击手套的颜色不对，斯科西斯才意识到影片底片将来会褪色的问题，为了不让自己的作品在未来因底片褪色而变得走样，斯科西斯决定把影片拍成黑白片。

与斯科西斯合作过《出租汽车司机》的保罗·施拉德参与了剧本的修改工作，他增加了拉莫塔弟弟乔伊这个角色，由此解决了影片叙事上的问题，进而转向了家庭价值、自我毁灭等主题。当然，施拉德撰写的拉莫塔在监狱中自渎的段落被斯科西斯给删除了，这令他大为恼火，不过他还是在影片开拍前发去了贺电。





比赛正酣

斯科西斯为了拍摄精彩的拳击场面，特意去现场观摩拳赛，但坐在远处的他意识到拳击比赛的复杂性，假如自己要把它拍好的话，肯定需要大量时间，于是他不得不在拍摄前对影片中出现的拳击比赛做了详细的分镜头本，而且因为没有多台摄影机拍摄，因此他大胆地把一台摄影机直接摆在了拳台上，造成了观众近距离观看的效果，9场拳击比赛被设计得富有生命力，拳击的暴力、野蛮被揭露得淋漓尽致并富有诗意。

拳击场面原定拍摄五周，但实际却用了一倍的时间。德·尼罗在拍摄完拉莫塔辉煌时期的戏码之后立刻前往意大利增肥，以便能够演出中年发福的拉莫塔。作为方法派演技的代表人物，他不希望利用填充物来欺骗观众，他要通过增肥来真正进入到拉莫塔的世界中去。

德·尼罗在4个月内狂吃猛咽，从150磅增肥到210磅，硬是生出了一个臃肿不堪的大肚腩。在德·尼罗增肥的时间里，斯科西斯和剪辑师塞尔玛·舒梅克进行了紧张的剪辑工作.拉莫塔任人痛打的这场戏里，舒梅克并没有按照斯科西斯的分镜头本来剪辑，而是根据演出的节奏剪出了一场令人难忘的好戏。

后期制作时，斯科西斯找来了《出租汽车司机》的老搭档、音效师弗兰克·华纳，他负责给影片创造各种不同的音效。此后被影迷津津乐道的、甚至在彭浩翔的《买凶拍人》里还有提及的如神话般的音效制作，就此展开。弗兰克·华纳用他的独门绝技（私藏的100万英尺音效片断）制造出了拳拳到肉的音效，甚至还用到了机关枪和砸香瓜的音效。具体的制作方法秘不可宣，而且制作完成之后立刻销毁！




拳赛之后
   
影片首映时遭到了很多批评，但德·尼罗毫无争议地获得好评，并得到了奥斯卡最佳男主角，舒梅克也获得了奥斯卡最佳剪辑奖。随着时间的推移，影片被视为斯科西斯最好的作品，常荣登1980年代十大电影第一名，成为当代美国电影的经典。斯科西斯凭这部破釜沉舟式的电影，不仅没有让它成为自己的收山之作，反而再获投资，拍出《喜剧之王》、《金钱本色》、《好家伙》等影片，直至以《无间道风云》获得奥斯卡最佳导演奖。德·尼罗也因此片确立了自己“戏王之王”的地位，为了配合剧情改变体重的方式也影响了好几代演员，比如《跛豪》里的吕良伟。

另外值得一提的是，在多年之后的北京市，一个中国人看了《愤怒的公牛》，对斯科西斯佩服不已，也对片首斯科西斯引用的马斯卡尼作曲的歌剧《乡村骑士》（这个著名的歌剧，在上海翻译者严敏的笔下，居然成了《庄稼汉骑兵》，实在令人对他的翻译功力感到匪夷所思，具体内容可参见:http://www.douban.com/review/2230694/）记忆犹新，并把它和《愤怒的公牛》中的部分技巧用在了自己第一部执导作品中，这个人,正是姜文。

 


谁是冠军

《愤怒的公牛》最初发行的DVD是不可变形宽银幕版，最佳版本是英国二区版D9+D5版，D5版的花絮有29分钟制作特辑和5分钟的拉莫塔讲解笑话来源的段落。2005年，米高梅公司宣布推出斯科西斯作品集套装，其中收录了新版本的《愤怒的公牛》双碟版。新版正片制成了可变形宽银幕格式，画质比之前的版本有了明显的提升。正片碟还重新混录了杜比5.1音轨。
   
正片碟收录了三条评论音轨。
第一条由斯科西斯和剪辑师舒梅克担任
第二条由影片制作人温克勒、摄影师迈克尔·查普曼、音效师弗兰克·华纳成组成
第三条则由编剧施拉瑞德和拉莫塔等担任

这三条评论音轨的侧重点各不相同，但都具有一个共同特色：料多量足。斯科西斯谈到了影片的结构（原来并非倒叙＋插叙）、演员的加入（德·尼罗推荐了正要退出演艺圈的乔·佩西）、慢镜头的运用等情况，而舒梅克则讲述了剪辑上的一些问题，如游泳池的剪辑很困难，因为现场噪音很大等等。值得一提的是，舒梅克所谈到了剪辑技巧，已被很多美国电影学院的老师直接作为教材，让学生回家根据DVD的评论音轨自习。这就是花絮的重要性，它提供给你的不仅是娱乐，而且是一座电影学校！

另外两条评论音轨提供的幕后猛料也非常多，尤其是摄影师查普曼更清晰地记得每个场景的拍摄情况，比如乔·佩西与在街上即兴演出的戏不是在纽约实拍的，而是在福克斯的片场拍摄；片首拳台慢镜头里闪烁灯光的正是他本人等等，全程听下来，受益也不少。

第二碟为单独的花絮碟，由著名的DVD制作人Laurent Bouzereau（希区柯克、斯皮尔伯格作品DVD的制作人）监制，四个纪录片虽然都不算太长，但提供的信息却异常丰富，在评论音轨里缺席的德·尼罗也接受了采访，提问者巧妙设计问题，总长近两小时的纪录片基本上解决了一些观众最关心的问题，比如弗兰克·华纳利用了动物音效来制造拉莫塔反击的场面，增强了激动人心的力量。而那段彩色的家庭电影，其实不是摄影师拍的，因为专业知识告诉他不能那么拍，斯科西斯自己来拍，也拍不出家庭电影的感觉，最后找了个货车司机来拍，结果拍出了斯科西斯要的效果。

英二版里29分钟的幕后制作纪录片也被收录进去，另外还有拉莫塔的资料片和德·尼罗影片的比较（3分钟）以及拉莫塔在第十五个回合、比赛仅剩十三秒就结束前异军突起，战胜法国挑战者罗伦·道惠卫冕成功的新闻片（1分钟）。

此后其他区发行的版本也大同小异，无非就是评论音轨上的减少和dts音轨的加入等。


2009年2月10日，米高梅发行《愤怒的公牛》蓝光，把这部经典提升到了1080p的高清格式，正片自带中文字幕，花絮包括了以上所述的大部分内容。略有缺失的花絮内容被同月发行的英B版蓝光补足。



附
1997年上海国际电影节时，笔者曾有幸在天山电影院的大银幕前目睹过此片的胶片，但对于当时懵懂的少年来说，看得一头雾水，根本不能理解斯科西斯的伟大。

现在重看，才能体会到它的美。就像《约翰福音》说的那样：“我只知道：我曾经眼瞎，现在，我重见光明”。


全图版请参见:http://blog.sina.com.cn/s/blog_53867c1d0100eqsd.html

        拳击的暴力、野蛮被揭露得淋漓尽致并富有诗意。拳坛不是久留之地，拉莫塔的离开印证了海明威的名言：可以被毁灭，但不能被打倒。
        拉莫塔越是专情于维琪越是疑神疑鬼，越是执着于拳击越是患得患失，越是纵情于声色越是内心空虚。拉莫塔在争名逐利的压力中迷失了自己，打老婆只是外在的表现之一。
        没有回头路，只能往前扛，也许这就是生命的不圆满。
        每一个有梦想的人，背面就会有欲望；每一个努力过的人，背后就是挣扎。人是否有罪，我不知道，我只知道，我曾经是一个瞎子，我现在能看见了。

摘自《Scorsese on Scorsese》一书中，Scorsese对这部电影的回顾。
Scorsese began working on a new script with Jay Cocks entitled Night Life, about a fraternal rivalry. But by the end of 1978 his marriage had broken up, he was in poor health and in a severe state depression. It was at this jucture that Raging Bull, the life story of former boxing champion Jake La Motta, offered a way out of his crime and personal impasse. It became, as Scorsese later acknowledged, a means of redemption.

When I was doing Alice Doesn't Live Here Anymore, De Niro gave me the book Raging Bull.... In this book, they tried to give a reason for everything Jake did in his life, for his guilt and for his violence. It was very bad,

Right after New York, New York, during those two-and-a-half years from 1976 yo 1978, I went through a lot of problems. The film was not successful, and I was very depressed. I finally came out of it when I was in hospital on Labor Day weekend 1978, and De Niro came to visit me and he said, 'You know, we can make this picture.' There were three or four scripts which had been written in the meantime, and they had all been rejected. I didn't like any of them and didn't pay much attention, because I was in pretty bad shape. And Bob said, 'Listen, we could really do a great job on this film. Do you want to make it?' I found myself saying, 'Yeah.' I understood then what Jake was, but only after having gone through a similar experience. I was just lucky that there happened to be a project there ready for me to express this. The decision to make the film was made then.

I was fascinated by the self-destructive side of Jake La Motta's character, his very basic emotions. What could be more basic than making a living by hitting another person on the head until one of you falls or stops?

I put everything I knew and felt into that film and I thought it would be the end of my career. It was what I call kamikaze way of making movies: Pour everything in, then forget all about it and go find another way of life.

…So on this island Bob and I were looking at each other, and he said that On the Waterfront was our iconography, not Shakespeare, so why don’t we use it?

I pointed out that this would mean De Niro playing Jake La Motta playing Marlon Brando Playing Terry Malone! The only way to do it was to make it so cold that you concentrate on the words and you feel him finally coming to some sort of peace with himself in front of that mirror. And that’s the way we did it, in nineteen takes. Sometimes Jake himself would really act it out in a very strong way which was quite heartbreaking, and Bobby did it that way three times. It was the last day of shooting, and I think used take 13 in the end. One reviewer in America wrote that it’s the most violent scene in the film. When he says in the mirror, ‘It was you, Charlie,’ is he playing his brother, or putting the blame on himself? It’s certainly very disturbing for me.

Bob got to know Jake well and he worked with him a great deal just to be with him. I think he actually took care of Jake. When we shot the boxing scenes we had Jake there for ten weeks. After they completed, Bob looked at him and Jake said, ‘Yeah, I know, goodbye.’ Bob said, ‘That’s right.’ The dramatic scenes bear little attention to what actually happened.

I always find the antagonist more interesting than the protagonist in the drama, the villain more interesting than the good guy. Then there’s what I guess is a decidedly Christian point of view: ‘Who are we to judge, to point out the speck in our brother’s eye, while we have a beam in our own eye?’ Jake La Motta acted much tougher in real life than he appeared in the film. The script originally showed much worse things about him, but I found it impossible to show them – you could over twenty years, but in the space of two hours there is a risk of forcing them out of context. Nevertheless, I find these characters fascinating. Obviously, I find elements of myself in them and I hope people in the audience do too, and can maybe learn from them and find some sort of peace.

… I was never a fight fan. I saw two fights at Madison Square Gardens for research and the first image I drew was the bloody sponge. Then the second time I went, I was in the fifth row from the front, and I saw the blood coming off the rope. As the next bout was announced, no one took any notice of it.

I felt that Jake used everybody to punish himself, especially in the ring. When he fights ‘Sugar’ Ray Robinson, why does he really take that beating for fifteen rounds? Jake himself said that he was playing possum. Well, that may be Jake in reality, but Jake on the screen is something else. He takes the punishment for what he feels he’s done wrong. And then he’s thrown in jail, he’s just faced with a wall, and so with the real enemy for the first time – himself. Jonathan Demme gave me a portrait of Jake made by a folk artist and around the edge of this piece of slate war carved, ‘Jake fought like he didn’t deserve to live.’ Exactly. I made a whole movie and this guy did it in one picture.

Bob is a very generous actor and he will be even stronger when the other guy’s in close-up. Often I steal lines from the speeches we film over his shoulder, because some of them are so good. And he really gets other actors to act to his scenes. For example, when Jake asks Joey, ‘Did you fuck my wife?’ I had written a seven-page scene, the only full-length dialogue scene in the film. When he asks the question, you see Joey asking him back, ‘What, how could you say that?’ I told Bob I wasn’t getting enough reaction from Joe Pesci. He told me to roll the camera again, and then said, ‘Did you fuck your mother?’ When you see the film again, look at Joe’s reaction! I like that kind of help. You have to throw your ego out of the door: you can’t take it into the rehearsal room and you can’t take it on the set.

…De Niro’s not really a student of any particular method of acting.