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Carl Weathers

Review: Rocky

[Originally published in Movietone News 54, June 1977]

Sylvester Stallone’s meticulous job of screenwriting—street-poetry dialogue coupled with a healthy sense of humor and a sharp attentiveness to odd colloquialisms and fight-ring dialect—is largely responsible for making Rocky such an interestingly compassionate treatment of big guys against little guys. You might not think so as the film gets under way—a deliciously seedy venture into the life of a loser, a 30-year-old prizefighter named Rocky Balboa who never made it to the big time and has pretty much lost any hope of doing so. But thenceforth, Rocky tempts us onward and upward towards a crucial and emphatically hope-filled personal resolution in Rocky’s life, and that antagonism between (or perhaps balance of) the big against the little becomes not only Rocky‘s foremost theme but a part of its inner logic. There are the Apollo Creeds against the Rocky Balboas, but there are also the Big Moments against the privileged, nuanced, and seemingly offhand ones.

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