Rocky (1976)
The inspiration for Rocky came on March 24, 1975. Struggling actor and writer Sylvester Stallone attended a closed-circuit presentation in a Los Angeles movie theater of Chuck Wepner fighting Muhammad Ali. Wepner was a 40-to-1 underdog not expected to last three rounds but shockingly lasted to the 15th and final round before losing on a TKO. Stallone observed how the crowd in the theater initially cheering for Ali began cheering for Wepner, especially after Wepner appeared to knock Ali down in the 9th round. Stallone mused that Wepner technically lost but seemed a winner for going the distance.
Stallone’s acting offers dwindled, so he concentrated on writing, which he’d done since screening Easy Rider, a low-budget but socially conscious film he felt he had the talent to make. After purchasing the Easy Rider screenplay and a book on writing, he wrote story ideas in longhand form in a notebook for his wife Sasha to type out. Inspired by Ernest Hemingway, Stallone’s stories were about simple men encountering hard truths who die in the end.
Stallone’s first story fell far short of Hemingway or Easy Rider – an unwieldy 180-page clunker pretentiously called, “Cry Full and Whisper Empty in the Same Breath”. Although awful, Stallone felt accomplished in completing it. Determined to improve, Stallone disconnected his phone and spray-painted his windows black to maintain total concentration. Over the next few years, Stallone wrote eight screenplays and six TV teleplays. None sold. Stallone observed that studios passed because his stories followed current trends rather than offering freshness. Plus, they were pessimistic, with nihiistic themes portraying humankind as inherently bad.
Late in 1974, Stallone acted and performed dialogue revisions for The Lords of Flatbush. He decided to relocate to Hollywood, hoping for better opportunities, but nothing developed other than a tan. Stallone decided to forgo trends write only what he’d personally wanted to see at the movies. He favored classic Hollywood movies featuring heroic figures who possessed the dignity and courage to overcome overwhelming obstacles. Though considered corny, these movies spoke to him.
For ten months since seeing the Ali/Wepner fight, a idea percolated in Stallone’s mind about boxer plucked from obscurity to challenge the flamboyant world champion.
Stallone worked breakneck speed, feeling that the quicker he completed the script, the quicker they’d sell it. Sasha regularly slapped her face to stay focused typing 18 hours a day over three days. This first draft resembled an urban melodrama like 1961’s The Hustler, showcasing luckless fighter Rocky Balboa as a good man in a world of sleaze, including Balboa’s viciously racist manager, Mickey. Rocky faces an aging heavyweight champion, breaking his ribs before beating him to a pulp. Mickey cheers him on to kill him, but Rocky decides he’d rather take a dive than continue. Rocky uses the loser’s share of the money to buy a pet shop for himself and his newfound love, Adrian, to run.
Stallone felt the story stunk and considered scrapping it altogether but Sasha urged him to just fix what wasn’t working than begin anew. The next draft reduced Rocky’s intellectually slick and callously clever version of Stallone to a common but good man who’d been dealt a bad hand in life. Rocky was a boy in tough man’s body – simple, gentle, sentimental, and vulnerable, governed by emotions and sense of duty to persevere through all obstacles.
Stallone’s talents landed interest from his agent’s producer friend, project developer Gene Kirkwood, who hoped to land his first feature for the studios. Kirkwood brought Stallone to his new employers, the successful team of Robert Chartoff and Irwin Winkler. Kirkwood encouraged them to look at Stallone’s work in The Lords of Flatbush. They met with Stallone and saw a young Brando. However, they currently had no parts for this type.
On the way out, Stallone mentioned being a screenwriter, which piqued their interest. They invited him to return and show what he’d been working on. He showed them the screenplay for Paradise Alley. They liked the writing but weren’t interested in making a wrestling film. Stallone related his story about a boxer from Philadelphia, which they felt had possibilities, especially liking that Rocky lost the fight. Audiences liked stories about human dignity, like Marty and Somebody Up There Likes Me. They requested some narrative changes before they’d commit, which Stallone obliged. Six weeks later, the revised script got him hired, as the producers worked with Stallone on refining it over the next six months.
Although Rocky and Stallone differed in personality, underneath, Stallone felt it represented his own story about his quest to succeed as an actor, cultivating the feelings Stallone had undergone in his struggles. Rocky, like Stallone, had talent and drive though everyone else thought they’d never succeed. They began emphasizing Rocky’s relationship with Adrian such that it was her love and support that bolsters Rocky’s resolve to go the distance. Because they were viewed by society as losers, millions of viewers would sympathize and identify with these characters.
Winkler and Chartoff took the script to United Artists. United Artists liked it but also had script changes in mind. Apollo Creed too closely resembled Muhammad Ali and they didn’t a lawsuit. Stallone rewrote the part overnight to make Creed Jamaican, though later revisions ditched this.
UA offered $75,000 for the script, imagining a bankable actor as Rocky: Burt Reynolds, Steve McQueen, James Caan, Ryan O’Neal, Jon Voight, Al Pacino, and Robert Redford were among the names. Disappointingly, Stallone declined, stating that Rocky was a starring vehicle for himself. UA’s offers for the script alonte continued: $100,000 and 10% of the profits, then $200,000, $260,000, and $300,000. With Stallone having only $106 in the bank and a looming eviction, his confidence wavered. Sasha encouraged Sly not to cave; Rocky was about a million-to-one shot to success. The money wasn’t worth it if Stallone hated himself for the rest of his life seeing anyone else as Rocky.
Winkler and Chartoff asked Stallone if there was any price he’d accept for the script alone. He’d turn down a million dollars, but would sell it for nothing if he starred. Stallone reasoned that because he’d never had that kind of money, he wouldn’t miss it. Sensing an impasse, the producers feared that Rocky would never get made. Brainstorming, they found a solution. They had a put-picture contract with UA that allowed them to make any movie budgeted under $1.5 million. Rocky would be made this way. UA insisted that any film with as many characters, locales, and a title fight could never be made for so little. Even Stallone felt $2 million was the lowest possible, but there was no other choice: it would be made cheaply or not at all.
UA insisted that Rocky could only move forward as a “put picture”, if the producers obtained a completion bond if the production exceeded $1.5 million or 30 days production shoot to complete the picture. UA also wanted the right to replace Stallone within the first 10 days if his acting or attitude weren’t to their liking. Given the meager budget, the producers didn’t want to pay the high fees of a completion bond so they mortgaged their homes. Stallone’s salary was scale for acting and a 10% profit share for the script.
The producers needed a street-savvy, energetic director experienced with making energetic films with tight budgets and schedules. They sought John Avildsen, known for high-quality, low-budget efforts like Joe and Save the Tiger. Avildsen also lobbied to cut the budget of WW and the Dixie Dance Kings, a film Stallone was turned down for, claiming he didn’t need so much. Avildsen believed in Rocky, accepting a meager $50,000 salary plus percentage points.
Stallone began an all-protein diet and a regimen of weights, running, jumprope, and shadow-boxing. Stallone hung a full-sized punching bag in his living room, which Sasha detested. Stallone felt like a professional boxer until a real boxer he sparred with punched him so hard and he collapsed. Angry, Stallone punched back but he was quickly overpowered by a pummeling that left him bedridden for days.
The role of Apollo Creed required someone built like a heavyweight champ but could act. Hundreds of professional boxers auditioned, but some had brain damage and couldn’t remember or recite lines clearly, while others had stage fright. Their first choice was top-ranked boxer Ken Norton, but days before production, he was offered more money to appear on the sports competition TV show, “The Superstars”.
Former NFL linebacker Carl Weathers came recommended by his talent agency. Weathers auditioned with exuberance, energy, and confidence. He lied by claiming he had boxing experience in Canada. Weathers grew defensive when he heard chuckles during line reads, remarking that he’d perform better with a real actor to read with. After Weathers was told he Stallone was the star, he retorted, “Well, maybe he’ll get better.” Stallone played along then asked to see him box. Weathers removed his shirt, revealing an incredible physique, then danced around jabbing Stallone on the forehead. Stallone didn’t reciprocate for fear of it escalating, but he concluded Weathers was the perfect Creed.
Stallone trained with actor and boxing enthusiast Jimmy Gambina, who plays Mickey’s righthand man, and watched boxing films. Avildsen didn’t like Stallone improvising boxing against stuntmen, encouraging him to script every move of the 45-minute fight. Stallone commentated using a tape recorder every moment of the fight, typed out by a production assistant. The stunt crew scoffed, regarding Rocky as a b-movie that didn’t merit such effort, so Stallone rehearsed with Weathers. Avildsen felt other boxing movies contained fake-looking boxing action, so he began filming their rehearsing to plot camera angles, editing, and advise on speed and movements around the ring that would produce realistic results.
The main actors were given a modest allowance to purchase clothing they felt exemplified their characters.
On the first day, Stallone got jitters. Rocky was more likely to end his career than kickstart it. He was in 90% of the scenes, so if he failed, the movie would fail, and studios would never give him a break again. Stallone convinced himself that he wasn’t there, Rocky was, and this was his world. Stallone began recording “positive thinking” tapes to maintain self-esteem regarding his acting, showing imagination, and taking control. The Philadelphia shoot proceeded at a breakneck pace over six days, driving around to find picturesque spots for Stallone jump out of the van to run. Stallone ran 30 miles over two days, leaving him in agony from shin splints. Avildsen filmed Stallone’s pain, proclaiming it brought authenticity.
On day four, the actor hired to play Mr. Gazzo, the loan shark, was no longer available. Stallone brought in his friend Joe Spinell, who he’d worked with on Farewell My Lovely. Avildsen loved Spinell, especially his improvisational touches. Spinell pulled out his inhaler to suppress an asthma attack, lending a wonderfully unexpected character touch.
In Stallone’s script, Rocky’s first date with Adrian is a traditional restaurant dinner. Avildsen deemed this too boring, suggesting bowling or ice skating. Stallone rewrote an ice skating date at a crowded outdoor rink at Christmas where an obnoxious skate instructor grows upset with Adrian’s terrible skating and they converse off ice. When they were told there was no budget for extras, he rewrote the scene as a rink closing early for Thanksgiving. Stallone couldn’t ice skate, so he jogs alongside Shire for the scripted conversation.
For their first kiss, Adrian avoids kissing Rocky directly. Stallone thought Shire was providing a credible character touch but she revealed she had the flu and didn’t want to spread it.
A scene of Rocky receiving hate mail before the big fight was removed. Stallone fumed when his boxing robe was too large but advantageously used it to further show Rocky out of his element. In the meat packing training scene, Stallone had bandages to protect him but when the cold sunk in each punch was painfil. Stallone’s original intent when running up the museum steps was to carry Butkus in his arms to show his strength, but when he ran out of steam after fifteen steps he nixed the idea.
Avildsen showed composer Bill Conti the Super-8 fight footage while playing Beethoven’s Pastoral Symphony. He wanted a modernized version of a classical score.
Hundreds of professional boxers auditioned for Creed. Fights erupted in the waiting room. Some had significant brain damage while others couldn’t perform when asked. They needed an actor who boxed rather than a boxer who acted, eventually choosing Carl Weathers, who lied and said he’d boxed in Canada. Weathers was well-built, former linebacker who worked as a professional actor. Given Weathers’ swagger and braggadocio, Stallone couldn’t imagine a better fit.
They stuck mostly to the script though they ad-libbed when multiple takes produced stale performances.
The producers despised a scene of Rocky lecturing a teenage street hood girl for her language, but Avildsen fought for it because it showed Rocky had noble, heroic qualities and he wanted others to not repeat his mistakes that lead to a dead end. Plus, he’s nice to kids, animals, and ladies in distress. Frank Capra praised it Rocky‘s best scene in the movie because audiences fall in love with Rocky and will wholeheartedly cheer for his success henceforth.
Arguments arose regarding the ending. Stallone wanted Apollo to clearly win, while Avildsen cut the film so that who wins seems incidental.
Stallone took Rocky’s moniker “The Italian Stallion” from an alternate title to a low-budget film he appeared in called Party at Kiddy and Studd‘s.
Stallone borrowed scenes from his life in Philadelphia. Sly moved to Philadelphia wtih mother Jackie after his parents’ divorce. He began weightlifting when his father told him that he wasn’t born with much of a brain so he should start developing his body for physical labor. He used that for a line in the film. Stallone came back to Northeast Philly at age 17.
Many actresses auditioned for Adrian, but Stallone felt most were missing qualities he had in mind. Stallone envisioned someonereserved, with a thin, birdlike frame under long brown hair. Carrie Snodgress was sought but her agent wanted for more money. That’s when Talia Shire walked in, wearing glasses and short hair, the opposite of how he envisioned Adrian, and he found it in her before she uttered a single word. When she auditioned with improvisation, Shire was enthusiastic and maintained command of her character. Stallone was so exuberant about Shire that the producers quickly relented, offering a $7500 salary.
Stallone’s father plays the timekeeper and brother a streetcorner crooner. Stallone’ cast his real-life Bull Mastiff Butkus.
Stallone wrote the Mickey Goldmill part with Lee J. Cobb in mind but Cobb refused to audition. Burgess Meredith was the best among the credible veteran actors possessing with the stature and reputation to nail the part. Meredith didn’t like the brutality of boxing but respected real-life boxers who hoped to escape the bleakness of poverty. He calls the Mickey-Rocky the reverse of George and Lennie in “Of Mice and Men”. Meredith channeled boxing manager Howie Steindler in his portrayal.
Talia Shire, fresh from her Oscar-nominated supporting performance in The Godfather, wanted Rocky to show she belonged in movies for her acting, not bring Francis Ford Coppola’s siste.
Stallone chose Philadelphia for the Bicentennial theme and his familiarity with the town. Stallone wanted Philly’s mayor, Frank Rizzo, for a scene involving Rocky visiting the mayor’s office. Rizzo considered Rocky a troublemaker but one who inspired street punks he could impress with a photo-op. Rizzo asks Rocky what he’ll do with his $150,000 and Rocky replies, “Run for mayor”, to which Rizzo immediately says, “Cut!”
The prize fight took place in the Los Angeles Sports Arena with 4000 extras as spectators paid offered free meals from KFC for attendance. Many who showed up were unsavory, fighting with the actors and crew, so they abandoned free meals, opting instead for elderly residents, students off from school, and walk-ins asked if they were interested in moviemaking. Drawings for prizes were held to keep them seated.
To fill the arena, extras were moved around and unpopulated areas remained dark. Stock footage from Madison Square Garden provided the illusion of thousands in the crowd.
The original ending showed Creed carried out on his fans shoulders, while Rocky walks alone through the crowd to find Adrian in the locker room, then they walk out together holding hands back into their smaller lives. However, the extras grew too hostile toward Weathers, so opted to keep the celebration in the ring instead. During editing, Rocky’s solitary walk away from the ring seemed anticlimactic and downbeat. Rocky needed to immediately connect with Adrian. They reshot with Adrian entering the arena to watch the final rounds, then fighting her way through the crowd to unite with Rocky. Stallone this fluke resulted in an ending better than anything he could write.
The role of Paulie required someone who embodied a hot-tempered, disenfranchised, blue-collar guy. Burt Young was a former professional fighter capable of delivering punishing blows, yet has a gentle sensitivity, quietness, and intelligence. Like Stallone, he had a writer’s mind.
Stallone nixed several story ideas a lack of budget, including having an increasing crowd of children following Rocky during his roadwork, growing every day until hundreds of kids followed him up the steps of the Art Museum (he revisited that with Rocky II).
Stallone says the story arc involves several lonely people who find a common cause and become fulfilled by the end. It is a powerful and optimistic experience that provides emotions over intellect. When you root for Rocky, you root for yourself.
Rocky was released in December, 1976 to qualify for Academy Awards consideration, following a nation-wide release in February 1977.
Exteriors were shot in Philadelphia. Keeping the film under budget required sneakily shooting exterior scenes in Philadelphia without a permit. They had trouble finding a suitable boxing gym in Philadelphia, but found a converted church gym in East Los Angeles which contained a stained glass portrait of Jesus that became the opening shot of the movie.
Though Avildsen felt boxing was dumb and didn’t want to celebrate it, he accepted Rocky for its uplifting humanistic story that would open audiences hearts, being more about winning self-respect than a fight.
Test screenings of its rough cut elicited enthusiastic reactions, so UA ballooned the publicity budget, spotlighting both Rocky and Stallone as uplifting cinderella stories. Stallone became a media darling, relishing interview opportunities. Rocky merchandising was lucrative as audiences embraced Rocky-mania worldwide.
Excised scenes included one where Dipper gets paid off when Apollo comes to the gym with a camera crew to harass Rocky into fighting. Rocky socks Dipper and lays him out, alerting Creed that he might have challenged the wrong fighter.
Stallone had his inspiration – a street-tough boxer named Rocky Balboa, a simple, luckless character who was patriotic, emotional, spiritual, and good, no matter how life knocked him down. He’d be to the 1970s what Charlie Chaplin’s Little Tramp was to the 1920s.
The film follows Rocky Balboa, a washed-up Philadelphia club boxer supplementing his income as a thuggish debt collector for a loan shark. He lacks ambition until setting his sights on mousy pet store clerk Adrian, his friend Paulie’s sister. Opportunity knocks when heavyweight champ Apollo Creed wants to fight a “snow white” nobody in Philadelphia for the nation’s bicentennial. Rocky agrees, but has five weeks to find the strength, agility, and heart to challenge Creed without embarrassing himself.
Though heralded as the quintessential sports underdog movie, Rocky is as much a romance as it is a film about boxing. When most people think back to this film, they probably only remember the final half hour, where the fight with Creed takes center stage, introducing the famous Oscar-nominated song, “Gonna Fly Now”, and the most enduring ending to any sports film. However, these scenes would lumber without excellent character development and believable performances by the impeccable cast. It takes a while before the action begins, but the payoff is monumental.
Few movies that choke me up every time like Rocky. It’s an inspirational story about a throwaway life thrust into potential salvation on the grandest of stages. It’s impossible to not be rooting for Rocky to make it with every ounce of their being during the exciting championship match. Shrewdly edited, but gentle and compassionate to its characters, Avildsen’s direction envelops you into Rocky’s world, including the seedier aspects, with all characters flawed yet not despicable. There are no villains, with even Apollo Creed coming off likable.
It’s astonishing how much they did with so little budget, including a convincing heavyweight bout. The “little guy that could” story of Rocky closely paralleled the real-life story of how Stallone went from unknown to superstar overnight.
Nominated for 10 Academy Awards, winner of 3 (including Best Picture), this little film was an unlikely candidate for accolades, but like Rocky, overcame all obstacles with heart, determination, and abiding spirit. Stallone’s finest hour.
Qwipster’s rating A+
MPAA Rated: PG for some violence and language
Running Time: 119 min.
Cast: Sylvester Stallone, Talia Shire, Burgess Meredith, Burt Young, Carl Weathers
Director: John G. Avildsen
Screenplay: Sylvester Stallone