Habit bull

Do it. It’s not even a trick per se, it’s just a habit that none of us will ever break. (The Duck Hunt trick we all know is that if you touch the Zapper to the screen and shoot, you automatically kill a duck. Sure does take the fun out of the game though.)11 | The Punch-Out shoulder rubPop in Mike Tyson’s Punch-Out. Go a full round against someone like Bald Bull or Soda Popinski. Wait for the screen where your trainer Doc gives you useless advice and your opponent talks trash. And see what your left thumb subconsciously does.It will innately gravitate toward that “select” button… because you know that holding it down makes Doc rub your shoulders faster, giving you more life back as you start round two.But you already knew that. (Just don’t expect it to help you get past Bald Bull, the biggest asshole in Punch-Out.)

Of Jake’s for Vicki’s affections. He was a non-actor when he was cast, but his compelling performance in RAGING BULL was enough to turn him into the go-to actor for Italian/Mafia type characters. RAGING BULL is infamous for its revival of black and white cinematography in a time dominated entirely by color. This was done to give the film some period authenticity while also differentiating it from ROCKY. Scorsese enlisted his regular cinematographer Michael Chapman to lens the film, and together they create a hybrid aesthetic that deals in both documentary-style realism and impressionistic experimentalism. They save the naturalistic cinematography for La Motta’s life outside the ring, punctuating it with documentary-style intertitles to quickly establish when and where we are. Additionally, they supplement the realism with color 8mm footage meant to evoke La Motta’s home movies. However, it’s inside the ring where RAGING BULL really distinguishes itself and leaves it mark on the history of cinema. Whereas most boxing films prior to RAGING BULL covered the action from an outside perspective, Scorsese and Chapman literally step inside the ring. In that simple switch from an objective to a subjective perspective, Scorsese grants himself an unprecedented amount of creative freedom. We first see hints of it during the opening credits, where La Motta is depicted in distant silhouette, pacing around the ring in slow motion, set to the mournful dirge of Pietro Mascagni’s “Intermezzo” from the Cavalleria Rusticana. As the boxing sequences unfold, Scorsese turns the ring into a smoky, molasses-slow hellscape where La Motta must do battle with his own internal demons manifest in physical form. Scorsese and Chapman’s expressionistic camerawork is complemented by editor Thelma Schoonmaker’s fearlessly dynamic cuts. Schoonmaker, who had previously worked with Scorsese on his feature debut WHO’S THAT KNOCKING AT MY DOOR (1967), had been unable to work with the director ever since—barred entry into the editing guild simply because she was a woman. The guild finally came to their senses in time for Schoonmaker and Scorsese to reunite on RAGING BULL, and the pair has been inseparable ever since. Scorsese has a habit of eschewing conventional original scores in favor of needledrops from his own record collection, resulting in films that feel like they inhabit the same world as ours. Towards that end, RAGING BULL is consistent among Scorsese’s works in that it utilizes a mix of period music from the 1940s through the 1960’s—both popular jukebox tunes as well as traditional folk ballads that flesh out the Italian heritage of La Motta and the neighborhood that surrounds him. Scorsese also uses a few works from classical composer Pietro Mascagni, most notably the aforementioned “Intermezzo” to add an air of melodrama, subverting the image

106 1-3 Hallelujah!Thank God! And why? Because he’s good, because his love lasts.But who on earth can do it— declaim God’s mighty acts, broadcast all his praises?You’re one happy man when you do what’s right, one happy woman when you form the habit of justice. 4-5 Remember me, God, when you enjoy your people; include me when you save them;I want to see your chosen succeed, celebrate with your celebrating nation, join the Hallelujahs of your pride and joy! 6-12 We’ve sinned a lot, both we and our parents; We’ve fallen short, hurt a lot of people.After our parents left Egypt, they took your wonders for granted, forgot your great and wonderful love.They were barely beyond the Red Sea when they defied the High God —the very place he saved them! —the place he revealed his amazing power!He rebuked the Red Sea so that it dried up on the spot —he paraded them right through! —no one so much as got wet feet!He saved them from a life of oppression, pried them loose from the grip of the enemy.Then the waters flowed back on their oppressors; there wasn’t a single survivor.Then they believed his words were true and broke out in songs of praise. 13-18 But it wasn’t long before they forgot the whole thing, wouldn’t wait to be told what to do.They only cared about pleasing themselves in that desert, provoked God with their insistent demands.He gave them exactly what they asked for— but along with it they got an empty heart.One day in camp some grew jealous of Moses, also of Aaron, holy priest of God.The ground opened and swallowed Dathan, then buried Abiram’s gang.Fire flared against that rebel crew and torched them to a cinder. 19-22 They cast in metal a bull calf at Horeb and worshiped