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Raging Bull (1980 with Robert De Niro and Joe Pesci)

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USA / 1980

Director: Martin Scorsese
Writers: Paul Schrader, Mardik Martin, based on Jake La Motta’s biogrpahy

Cast: Robert De Niro, Cathy Moriarty, Joe Pesci, Frank Vincent, Nicholas Colosanto

The Bronx, 1941. Jake La Motta (Robert De Niro), just 19, is married and a father. Managed by his brother Joe Pesci, he has achieved a reputation as a boxer but cannot get good matches because he refuses to deal with the gangsters who control the sport. Impatient for success, he divorces his wife to take up with teenager Cathy Moriarty while Pesci does a deal with underworld figure Nicholas Colosanto and De Niro gets his shot at the world title – providing he first takes a dive which he does, unwillingly and unconvincingly.

Two years later, he wins the World Championship against Marcel Cerdan. Now, at the top, his troubles begin. He has weight problems, his suspicions of Moriarty’s infidelity drive him to the edge of madness and, after accusing Pesci and Moriarty of having an affair, he attacks them and Pesci walks out. In 1951 he loses against “Sugar” Ray Robinson and, catalyzed by self-loathing, his decline continues. He retires from the ring and opens a nightclub in Miami where he performs as a stand-up comedian but is jailed for the corruption of a minor and, in 1964, ends up in a club reciting from the works of, among others, Shakespeare, Budd Schulberg and Paddy Chayevsky …

De Niro deservedly won the Best Actor Academy Award for his towering, terrifying performance as boxer Jake La Motta in this superb adult film biography. La Motta himself was signed to the film, first to teach De Niro an authentic Bronx accent and then to teach him to box. They trained daily. “I guess in the first six months,” said La Motta, “we boxed a thousand rounds, a half-hour straight every day.” At the end La Motta was quoted as saying, “I guess I’d rank Bobby in the first top twenty middleweights, I swear.”

When the film’s earliest scenes were completed, production was halted so that De Niro could become the grossly overweight La Motta of the later years. “It was Bobby’s idea,” said Scorsese, “and when he told me about it, I thought it was great.” De Niro spent four months in Italy eating his way from a weight of 155 pounds to a bloated 215 pounds. This beyond-the-method dedication to his art paid off handsomely, not simply in extra poundage, but also in a superb, excoriating performance about which Sight and Sound wrote: “The identification is so complete that the distinction between actor and role becomes blurred – he enters a character the way that a somnambulist enters a trance.”

There was superb support from Moriarty and Pesci and both were rewarded with very well-deserved Academy Award nominations and there were nominations, too, for the film itself, Scorsese and Thelma Schoonmaker won the Oscar for her creative editing and picked up a BAFTA Award for her work. In colour and black & white.

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California Split (Columbia 1974, Elliott Gould, George Segal)

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California Split

California Split is a movie about the adventures of two card players, and it stars two of 70s-era Hollywood’s most prolific male actors. Elliot Gould (M*A*S*H, 1970) plays Charlie Waters, a small-time card player who has the charisma and moxie of someone who’s way better at the tables than he actually is. Alongside him is George Segal (Who’s Afraid of Virginia Woolf, 1966) who plays Bill Denny, a magazine writer who moonlights as a casual player. Charlie and Bill meet in a California poker parlour game that turns heated over a dealt card hitting the floor, raising concerns of cheating. Despite this, the game continues, and one of them wins. This leads to the two players getting mugged by one of the game’s sore losers, giving them an experience that’s worth bonding over. The two become fast friends and this starts them off on a poker adventure that will test and reveal their true spirit.

In a 1974 review, Roger Ebert called California Split a “magnificently funny, cynical film”, which is probably the best way to describe the succeeding events following Bill and Charlie’s meet up. Regarded by many to be one of the best poker movies ever made, California Split is a quirky but ultimately realistic and darkly comedic look into the life and mind of card players. Despite this, you don’t really need to know a thing about poker beforehand in order to enjoy the movie. It’s a classic American adventure movie that has inspired countless other road trip movies and casino films.

From start to finish, California Split follows Bill and Charlie through the race tracks, seedy bars, private poker parties, Vegas’ second-rate casinos, treating bruises with hot shaving cream, waking up to massive hangovers, and even another mugging in which their instincts are put to the test. The result is less of a movie with careful exposition, and more of what feels like an inside look into the hilariously nightmarish world of America’s casino scene. The Telegraph calls the film one of Robert Altman’s best out of his extensive catalogue. It is brilliantly pieced together by his signature subtle visual prose, realistically overlapping dialogue, and the bravely understated introductions of his many quirky characters, California Split is one of the 70s’ definite must-see adventures. Such was the film’s realism that PartyPoker state that legendary player Thomas Austin Preston Jr. aka ‘Amarilo Slim’ had a small part. In his time Slim was known as one of the greatest ever poker players, winning 4 WSOP bracelets, and would have been an inspiration for the two main characters.

California Split is definitely a treat not just for card players, but for anyone who likes well-crafted movies about friendship and the makings of the American Dream.

main stars
George Segal, Elliot Gould Ann Prentis, Gwen Welsh, Edward Walsh, Joseph Walsh, Bert Remsen

crew details
Director: Robert Altman
Producer: Joseph Walsh, Robert Altman
Director of Photography: Paul Lohmann
Editor: O. Nicholas Brown, Lou Lombardo
Composer: Phyllis Shotwell
Screenwriters: Joseph Walsh
Production Designer: Leon Ericksen

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Raising The Wind (Anglo Amalgamated 1961, Leslie Phillips, Sid James)

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Raising The Wind

Raising The Wind, a winner from the Carry On stable, boasts a cast of familiar British comic actors and a surprisingly sharp screenplay by composer Bruce Montgomery, who wrote the music for many of the Carry On films.

Montgomery’s screenplay sensibly stuck to the successful formula established by the Carry On and Doctor film series, focusing on the comic adventures and misadventures of an assortment of impecunious music students working their way towards finals at a London Academy of Music under peppery conductor James Robertson Justice.

There was little straightforward plot; instead, Montgomery provided plenty of splendid comic situations which were played for all they were worth by director Gerald Thomas and his expert cast. Justice, sensibly making his conductor a variation on his celebrated surgeon Sir Lancelot Spratt from the Doctor comedies, “bulldozes his way magnificently through the role,” said Variety, and there was well-deserved praise for accomplished film farceurs Leslie Phillips, Kenneth Williams (notably in a hilarious scene in which his orchestra runs away with him), Liz Fraser, Sidney James, George Woodbrige and Jimmy Thompson.

UK / Anglo Amalgamated – GHW / 91 Minutes / 1961

Writer: Bruce Montgomery / Cinematography: Alan Hume / Music: Bruce Montgomery / Producer: Peter Rogers / Director: Gerald Thomas

Cast: James Robertson Justice, Leslie Phillips, Kenneth Williams, Paul Massie, Eric Barker, Liz Fraser, Jennifer Jayne, Sidney James

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Town like Alice, A (Rank 1956, Virginia McKenna, Peter Finch)

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A Town Like Alice

Nevil Shute’s novel A Town like Alice, from which this film was made, was based to a degree on fact – after the fall of Malaya to the Japanese during the war, European families were split, the men to labour camps, the women and children supposedly to other camps but these were over populated and they spent months on the road, ill-fed and sick, suffering deaths along their tortuous ordeal.

Virginia McKenna plays Jean Paget, who helps her fellow marchers as best she can. She meets Joe Harman, an Australian PoW on transport duties and a spark ignites between the two. But he is brutally punished by the Japanese after stealing a chicken for her and she thinks she’ll never see him again. When their lone guard dies, the women settle down in a small village and the war’s end brings repatriation. Then Jean gets a letter from Alice Springs, Australia…

The film, which saw the two leads win BAFTAs, also saw them at the height of their popularity and the film was a domestic triumph here and in Australia. Full of emotion and drama, Lee never allows the historical sweep to overwhelm the love story at the heart of the film and despite being shot entirely in Britain (doubles were used for McKenna and Finch for scenery shots in Malaya and Australia), it remains faithful to the story from one of Australia’s favourite writers.

UK – Australia / Rank – Vic Films / 117 minutes / 1956 made in black and white

Writers: W P Lipscombe, Richard Mason, based on Nevil Shute’s novel / Music: Matyas Seiber / Cinematography: Geoffrey Unsworth / Producer: Joseph Janni / Director: Jack Lee

Cast: Virginia McKenna, Peter Finch, Marie Lohr, Rennee Hosuton, Jean Anderson

US title: The Rape of Malaya

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