Raging Bull is a fantastic example of this notion. Jake La Motta is bloodied and beaten repeatedly in the film, but he does not allow himself to fall. "You never got me down, Ray," is all that he says after, arguably, the most violent sports scene in film history (Raging Bull 1980). La Motta is driven by the desire to be a great boxer -- to be the champion -- and it is pleasurable to watch his will overpower physical pain in vain attempts to realize this goal. His toughness, not necessarily his boxing skill, is what makes him an appealing character; and seeing him bloodied supplies the audience's subconscious desire to see the male suffer for an idea.
Similarly, Reservoir Dogs also displays male suffering in adherence to larger social patterns. Mr. White's commitment to Mr. Orange is completely tied to his belief that Mr. Orange is suffering as a result of his negligence (Reservoir Dogs 1992). Consequently, Mr. White receives a gun shot wound in his attempt to defend Mr. Orange, thus, creating one of the most interesting and gripping scenes of the film. The "rightness" of Mr. White's motivations...
Additionally, Mr. Orange's draw as a character originates from his agony. His principles are more numerous than the other characters -- involving the law as well as friendship -- so his mutilation is more fascinating. When he musters the strength to shoot Mr. Blond it is yet another example of the male suppressing physical pain to act in accordance with mental desires. The pleasure taken by the audience in the mutilation of the male body originates from the audience's desire to believe that pain is ephemeral in comparison to the mental spirit; the male's position in society demands that he take this role as the hunter and defender to the big screen. The truth of the male's principles in both films are not required, the action itself justifies them.
Works Cited
Neale, Steve. Masculinity as a Spectacle. London: British Film Institute, 2000.
Raging Bull. Feature film. MGM Studios, 1980. 129 min.
Reservoir Dogs. Feature film. Lionsgate Studios, 1992. 100 min.
