Best Picture Winner: 1976

Rocky (1976)

Rocky is the ultimate feel-good movie of the 1970s. A variation on the traditional rags-to-riches story, it is about a loan shark enforcer and part-time boxer who gets his chance at the heavyweight title. That Rocky Balboa is such a loveable chap is the main reason we want to see him prevail. But Rocky also taps into something that seems to be in all of us: we love to root for the underdog.

Rocky (Sylvester Stallone) makes his living by collecting debts for Philadelphia hood Gazzo (Joe Spinell). Rocky has a soft heart though, as demonstrated when he can’t bring himself to break the thumb of someone who’s fallen behind in his payments. Occasionally he’ll make some money in the boxing ring. Rocky likes his friend Paulie’s (Burt Young) extremely shy sister Adrian (Talia Shire), and he finally gets a date with her. But Rocky’s life is about change. Heavyweight champion Apollo Creed (Carl Weathers) is looking for an unknown boxer to compete with for a New Year’s Day match. He likes Rocky’s looks and his moniker: the Italian Stallion. Accepting a management offer from Mickey (Burgess Meredith), the owner of the gym at which he works out, Rocky begins his training so he can go the full fifteen rounds with Creed, a feat that has yet to be accomplished by any other opponent.

Rocky is an old-fashioned story about the self-deprecating “loser” who seizes the chance to make something of his life. As a person, Rocky is known all over his neighborhood and well liked. He has a great sense of humor, good intentions, and no ego. Believing he’s just a dumb guy, Rocky uses his muscle to collect debts. But this isn’t what he really wants to do. The film spends most of its first hour following Rocky about his routine. It’s a very unglamorous life. But there is much sweetness in his courtship of Adrian, who hides behind birdcages while Rocky tries to charm her. It’s Paulie who ultimately has to force the date, by tossing out the Thanksgiving turkey. An unorthodox method it may be, but it gets the right result. Meanwhile Creed is smiling for the cameras, not taking Rocky seriously. Not exactly a villain, Creed’s arrogance rubs us the wrong way. We want Rocky to teach this guy some manners.

Director John G. Avildsen stages some rousing sequences in Rocky. Rocky begins his training not able to climb the steps of the Philadelphia Museum of Art. Later, accompanied by Bill Conti’s now-classic music, Rocky triumphantly surmounts the steps, raising his arms in victory. The montage set pieces covering Rocky’s training would become a standard part of the Rocky sequels. And the climatic fight never fails to get the blood pumping.

Sylvester Stallone is the true hero, however, of Rocky as the star and writer. He delivers a, ahem, knock-out performance as the “bum from the neighborhood.” There’s not a false note to be found. Stallone’s script is filled with great character bits, charm, and heart. How can you not like Rocky? Whether he’s trying to give advice to a neighborhood girl, or talking to his two pet turtles, Cuff and Link. While Shire, Meredith, and Young contribute strong work, it’s Stallone who grabs our attention. He brings sensitivity and understanding to the role that indicated a great acting future for Stallone. It is unfortunate he found himself relegated to action hero parts, albeit successful ones, which rarely required much of him other than to look imposing. Stallone, as an artist, has never topped Rocky.

While it may be formula, Rocky emerges as a totally engrossing and satisfying story about a man who thought his chance at a better life had already passed by him. It does not matter how many times we have seen this story played out. When it’s told well, it works. And Rocky delivers.