WRITER'S CUT: One Step, One Punch, One Round at a Time: The Legacy of Sylvester Stallone, From "Rocky" to "Creed"

"WRITER'S CUT": A collection of previously-published posts that have been thoroughly re-examined and re-edited by yours truly. (The following was originally published on November 1, 2018.) 

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In the early-1970s, a young actor was struggling to make it into the movie business. He was constantly being rejected by producers and agents who never believed he would be a movie star, due to the way he looked and the way he talked (when he was born, he suffered a paralysis in his lower lip, resulting in a permanent snarl and speech impediment). He was also struggling to make ends meet and, according to one resource, had only $106 in his bank account. 

Inspired by the poems and life of Edgar Allen Poe, as well as the idea of unfulfilled dreams, he turned to writing for escapism and inspiration. Then, one night, after watching a televised boxing match between Muhammad Ali and Chuck Wepner, he had an idea: a story about a lowlife boxer from Philadelphia who is given a one-in-a-million shot at the heavyweight title. A story about redemption, self-respect, love, courage, and going the distance.

This man was Sylvester Stallone. The story and character he wrote about was Rocky Balboa. The rest, as they say, is history. 

"I Can't Sing or Dance"

Released in December of 1976, Rocky is the quintessential underdog story--certainly as far as fictional films go. What makes it even more compelling is the reality behind Stallone's life up to that point, including his persistence and dedication in writing it, and his insistence on playing the lead role. In many ways, it's a semi-autobiographical journey, something the other films (from 1979 to 2006) would subsequently do.

Rocky could easily be described a sports or boxing movie, but it really isn't. The heart of the film lies in its character drama and universal story. In terms of characters, there's the titular "Italian Stallion," a street-smart fighter with a trademark fedora and jacket, who makes a living by working the books for a loan shark. There's Adrian (Talia Shire), the painfully shy pet shop worker he falls for. There's her brother Paulie (Burt Young), a meat factory worker constantly begging for other job opportunities, and Rocky's closest friend. There's Mickey (Burgess Meredith), the trainer who at first seems very arrogant and mean-spirited, but who deep down believes in Rocky, so much that he's willing to be brutally honest with him. And finally, there's Apollo Creed (Carl Weathers), the prized Muhammad Ali-type fighter who gives Rocky a shot at the heavyweight championship. All are fully-realized and represent the kind of people they don't make movies about a whole lot these days. 

Sylvester Stallone and Talia Shire in Rocky

The film's screenplay represents a great three-act structure. For starters, the story really takes its time in setting up its characters, who they are, and what their dilemmas and desires are (i.e., Rocky's low point in society, Adrian's shell she apparently can't escape, Paulie's lack of career opportunities, and even Apollo's flaws he tries to cover up). The central conflict that follows thematically pits two ends of society against each other, complete with various forms of physical, relational and emotional conflict brewing between them. And, of course, there's the resolution with the climatic match.

Films certainly have a long history of "happy accidents" that have become iconic moments over the years. And this low-budget film (made from about $1.2 million) is no exception. From the lack of extras in the ice-skating rink during Rocky and Adrian's first date, to Shire being sick with the flu during her love scene with Stallone, the fight poster's misplaced colors, and Rocky's baggy fighting robe. These scenes could've been cheap because of the film's low-budget. And yet, they work because the actors made the most of them.

Of course, we can't talk about Rocky without mentioning the ever-popular training montage, complete with running, meat punching, and soaring to the top of the Philadelphia steps (which, reportedly, is the second most-toured landmark in the city of Philadelphia, after the Liberty Bell), and at the height of Bill Conti's unforgettable score (one of the greatest of all-time).

As is common with sports-related films (let alone, true stories), it's easy to hope that the main protagonist will win because that's the conventional nature of the story. Rocky was made and released during the mid-1970s, a time when various antiheroes dominated the cinema, from mafia boss Michael Corleane in The Godfather to Travis Brickell in Taxi Driver. Stallone was reportedly inspired by films like Martin Scorsese's Mean Streets, Delbert Mann's Marty, and Elia Kazan's On the Waterfront when writing the screenplay. (You can even see traces of Marlon Brando's Terry Malloy from the latter film in Stallone's performance.) If you don't believe Stallone has range as an actor, you haven't seen this film. He's tough. Charismatic. Charming. Sensitive. Sympathetic. Even raw.

What made Rocky himself an inspiration was his integrity and perseverance against all odds. He even admits (in a scene that may just be the best showcase of Stallone's acting career) he can't win the fight. On the other hand, he believes if he can still stand after ten brutal rounds (the most he's ever endured up to that point), then it will all be worth it. And therein lies the moment of truth for Rocky, in the form of "going the distance". In other words, the important thing for Rocky (and all the other Rocky's in the world) is not merely winning. The important thing is sticking it out; but from that, it's a win for one's integrity. Or as he says, "If I can go that distance . . . I'll know, for the first time in my life, that I weren't just another bum from the neighborhood."

Sylvester Stallone (right) in Rocky III

"You Got Civilized."

Stallone's career from thereon became a series of hit-or-misses, as well as some heavy career lows. However, in the midst of these various projects (including another franchise he helped popularize, adapted from David Morrell's novels about Vietnam war veteran John Rambo), he kept coming back to Rocky every few years, incorporating aforementioned semi-autobiographical elements related to his growing fame as a movie star and status as a machismo icon. 

While these sequels were mostly crowd-pleasing stories (with over-the-top fighting and occasionally sappy dialogue), they still came with their share of signature elements. For one thing, there were the diverse opponents, including the obnoxious Clubber Lang (future A-Team member Mr. T) in 1982's Rocky III, and Soviet machine Ivan Drago (future action star Dolph Lundgren) in 1985's Rocky IV. There was also the surprising character arc of Apollo Creed, a rivalry-turned-friendship that Rocky began to value and soon avenged. And who could forget Survivor's empowering anthem, "Eye of the Tiger," in the third film, or the gripping training montage of distinct workout methods in the fourth chapter? Bill Conti's underappreciated score for 1979's Rocky II also deserves another look. 

Things came to a supposed (and disappointing) end with the release of Rocky V in 1990. The follow-up found Rocky broken down and brain-damaged from his match with Ivan Drago, stripped of his riches and forced to move his family back into his old neighborhood (one of the few worthy story choices here), and seeking to train a new up-and-coming fighter (Tommy Morrison), who eventually gets led astray by money, fame and pride, all while Rocky puts his family aside. There's even a street fight instead of a boxing match, which Stallone admits was a dark turn instead of a hopeful one. 

The overall effect of the film (besides its critical and commercial failure) took a toll on Stallone, who admitted he made the film out of greed. After that, he continued starring in various hit-or-miss films, including the much-maligned 1992 action-comedy Stop! Or My Mom Will Shoot, 1993's mountain-climbing thriller Cliffhanger, 1997's underground-tunnel epic Daylight (which co-starred his real-life son Sage Stallone, who also played his son in Rocky V), and 1997's critically-acclaimed police-drama Copland. For the latter, he packed on 50 pounds to play an overweight sheriff of a small New Jersey town led by crooked cops.

Personally, Stallone had gone through two failed marriages and two sons. Then, in 1997, he wed actress Jennifer Flavin and had three daughters, all of whom were named "Ms. Golden Globe" in 2017. On his marriage to Flavin, Stallone stated, "It's been a fantastic revival of my life. As you know, my first marriage didn't go so well, though I have a relationship with my sons, but this marriage has been a second beginning. I used to think my career was number one, so I was gone nine months out of a year, but I learned the hard way that the most important thing is that you start at home and then comes the career." At the Golden Globe Awards in 2016, he thanked his family by saying that "having [their] love is the greatest award in the world, every day."

Sylvester Stallone in Rocky Balboa

In 2006, Stallone was initially the laughing stock of the film industry when he announced he was writing, directing, and starring in a sixth Rocky film, titled Rocky Balboa. Not surprisingly, many believed it would be just another pointless, cash-grab sequel. But when it was released in December that year, it proved critics and general audiences wrong. 

Instead of a mere fight film, Rocky Balboa recalled the emotional complexities of the 1976 original by portraying an aging fighter in a world that has passed him by, where he has lost loved ones, and who fights an inner "beast" apparently out of life's difficulties and unpredictabilities. And yet, Rocky still tries to maintain what he does have (i.e., his friend Paulie, his son Robert), and prove that his life (and life in general) is still worth living. As Rocky says, "It ain't about how hard you hit. It's about how hard you can get hit, and keep moving forward. How much you can take, and keep moving forward. That's how winning is done."

The film marked a proper end to the series and the birth of a renaissance era for Stallone, who (in his 60s at the time) didn't let his age discourage him. As an actor, writer, producer, and director, he headlined a fourth Rambo film (2008's curiously-titled Rambo), as well as the 2010 surprise hit, The Expendables, an ultra-violent mashup of 1980s action stars and explosive mayhem.

"I Got Other Plans For My Life, and This Wasn't Part of It."

Then, when audiences and critics (let alone, Stallone) least expected it, a young up-and-coming filmmaker from Oakland had a deeply personal idea for reviving the Rocky franchise: a spinoff centered on the illegitimate son of the late Apollo Creed, and his tutelage from the Italian Stallion himself. Director Ryan Coogler first connected with the original series through the sheer passion of his athletic father, who was a huge fan. When Coogler was completing film school at USC, his father had fallen gravely ill. As a personal favor, the young filmmaker then knew the kind of film he wanted to make.

After Stallone refused Coogler's initial concept (which included an aging and ailing Rocky), the young filmmaker's directorial debut (2013's Sundance-winning drama Fruitvale Station) was released. It impressed Stallone and co-producer Irvin Winkler, but Stallone was even more enamored by Coogler's willpower and determination, which reminded Stallone of his own tenacity when writing and starring in the 1976 original. Therefore, 2015's Creed represented a passing of the baton from one generation to the next, as the story centered on a young man with fighting in his blood, who sets out to prove to himself and to others that his existence isn't for nothing, as well as learn that a name alone does not define one's legacy.

Coogler added a gritty realism and original voice that had never been seen or heard in the series before. The fighting, for one thing, has never been more realistic or intense. One scene, in particular, shows two full boxing rounds in one impressive take. The character of Adonis (played by Michael B. Jordan), like Rocky and Apollo, sees Rocky as a surrogate father-figure, even while fighting or going through feelings of abandonment. In short, Creed is a story of father-son dynamics, hard work, forgiveness, and fighting together. This is also the first time Rocky has played a supporting role. And yet, Stallone has never been more vulnerable or believable with this character (or in any other role for that matter). He deservedly received various accolades for his performance. 

Sylvester Stallone and Michael B. Jordan in Creed

Adonis's story continued in 2018's Creed II, with Stallone and Jordan returning, along with Tessa Thompson (as love-interest Bianca). Coogler stepped down as director to work on Marvel's Black Panther (a blockbuster juggernaut when released in February that year), but stayed on as co-producer; directing duties went to first-time feature-filmmaker Steven Caple, Jr.. For the story (co-written by Stallone), Adonis would go up against the son of Ivan Drago, who infamously "beat" Apollo Creed in 1985's Rocky IV. Dolph Lundgren even returned as an older, more brooding Ivan Drago. 

Initially, Creed II could've gone one of two ways. In one corner, it could've been just another cash-cow installment centered on a brutal grudge match, filled with nostalgia from the 1980s. In the other corner, there was a more grounded approach, one with some unexpected character development and depth, not to mention a continuation (and, in some respects, a rewritten history) of a previous entry considered by many to be over-the-top and controversial. 

When released in November of 2018, the finished film proved to be more of the latter. It didn't quite reach the same cinematic and storytelling heights as its predecessor. Some may even accuse it of being predictable, not surprising, considering the critical reception many of the original films gained. But Creed II's unexpectedly-deep human drama and poetic narrative is anything but. Lundgren, for one, really humanizes Drago in a way that he never got to in Rocky IV. The film really packs a punch in more ways than usual.

At the time, Stallone posted on social media that this would be his final on-screen portrayal of Rocky Balboa, with Jordan, Thompson, and Coogler continuing the series with the upcoming Creed III in 2022. In the mean time, Stallone continues to prove he's more than just a movie star or action hero. He is an artist, a poet, and a devoted family man. Whatever you think of him, you can't deny he is a dedicated and hard-working man, and a force to be reckoned with. As Rocky would say, "Ain't nothin' over still it's over."

Promotional material for Rocky IV: Rocky vs. Drago

POSTSCRIPT: "He's Not a Machine! He's a Man!" 

During the 2020 worldwide COVID-19 pandemic (and while on hiatus from another film), Stallone decided to do a re-cut of 1985's Rocky IV, retitled Rocky vs Drago: The Ultimate Director's Cut. When asked during a live Q&A presentation with Turner Classic Movies host Ben Mankewicz in November as to why he chose to re-edit this particular sequel, Stallone admitted it was the most "flawed" in the series. Despite being the highest-grossing chapter and making a breakout star out of Dolph Lundgren, the actor-filmmaker wanted to re-assemble the film "in a contemporary fashion that is more soulful and dramatic," and with more humanity. 

If 2018's Creed II brought the Rocky-Creed saga full circle, then this alternate version of Rocky IV adds depth, new meaning, and much-better closure (pre-Rocky Balboa) to the original series, as well as more time with its central characters, much like Richard Donner's 2006 cut of 1981's Superman II brought that original franchise to a more worthwhile conclusion. 

With a new beginning and a clearer emphasis on Drago being exploited by the Soviet Union, this version also makes the action and brawling between the two opponents much less superhuman. The fight sequences are more gripping and grounded, with sound effects toned down; ditto the iconic training montage, a strong David-&-Goliath illustration of nature vs. technology, past vs. future (seriously, that dragonfly bit is impressive). The lighting has been adjusted and is now more bold, instead of foggy like before. Even the aspect ratio has been changed (or compressed?), from a 1.85:1 to a 2.39:1 format. 

More importantly, the film emphasizes its themes of age and pride in a way the theatrical cut never did, highlighting what is truly at stake for these characters. The theatrical cut, Stallone agrees, was superficial, fast-paced, and had less time to breath. (The robot/Paulie subplot, lest we forget, was one thing that Stallone knew he had to axe.) Even so, other sequences, like the James Brown performance in Las Vegas, don't feel out of place with these new adjustments. If anything, Rocky vs. Drago represents an opportunity for a star/filmmaker to present an alternative or corrected history.