Rocky: The Greatest Underdog Film of All-Time

Rocky is one of those films I'd find impossible to not love. In fact, quite frankly I can't conceive why anyone would dislike the film. The iconic tale of Rocky Balboa (Sylvester Stallone), small-time boxer and debt collector, and his one shot at becoming the world heavyweight champion, is now the stuff of cinematic legend. It's also frequently lambasted as one of the worst Best Picture winners ever. I don't understand; it was a competitive year, yes, with All the President's Men and Network being two fellow worthy contenders, but standing on its own, Rocky is the little film that could, that beat all the odds to become an iconic, one-of-a-kind sports movie that set the standard for not only all boxing movies, but all underdog movies to come.


As I've mentioned, when a film wins Best Picture it's almost always going to be subject to backlash of some sort. With Rocky, it's that it was such a straightforward, conventional, feel-good and simplistic film in contrast to the taut, tight, intelligent thrillers of All the President's Men and Network. All I can say to that is, all three films are great films, but great in their own ways. Rocky is undeniably powerful as an ultimate crowd-pleaser, and its emotional punch is unparalleled to any other film of the 70's. And though in many ways it is a very simple and straightforward story, the way which it is told is rather underrated in its originality and freshness.

Stallone, back then a complete unknown in Hollywood, spent ages peddling around Hollywood, but only agreeing to sell it to United Artists and Chartoff-Winkler Productions under the condition that he would star in the lead role. The studio had of course envisaged the screenplay with a big star like Ryan O'Neal (who just wouldn't have worked), Robert Redford (excellent actor but would've been miscast), Burt Reynolds and James Caan (would've been in their wheelhouse). I don't think any of these choices would have bettered Stallone. Some of them are undeniably more versatile actors than Sly, especially Redford and Caan, but none of them could have embodied that good-natured, somewhat slow-witted, humorous and determined individual the Italian Stallion was in and outside the boxing ring. There's a reason Stallone's portrayal of Rocky sprung a whole franchise, and recently with Creed another extended franchise; it's a character that has really stood the test of time. He would mould the character into different variations over the years, but it is here in 1976 where he first formulated the unforgettable character of Rocky Balboa.

As perfect as Stallone's performance is, I think his greatest asset to the film is his work as a writer. The screenplay to Rocky is really underrated in how it tells the small and tender story of a boxer fighting for his dreams and pursuing a sweet romance with the shy shopkeeper girl Adrian (Talia Shire), but also conveying such a vibrant sense of place and time in the slums of Philadelphia. We see Rocky at work as a debt collector and his interactions with the underworld, which aren't as On the Waterfront-levels of bleak as you'd expect (ball-breaking and aggressive loan shark he is, Tony Gazzo is quite nice to Rocky). We watch as he not only brings Adrian out of her shell, but also deals with her deadbeat brother and his best friend Paulie (Burt Young). Rocky's life is spent doing very inconsequential and 'little' things, yet its also so realistically drawn, so naturalistic in its dialogue and discourses between characters, and most importantly you really grow to sympathize and love our titular hero.

We also see Rocky at the gym and his strained relationship with the former boxer and trainer Mickey (Burgess Meredith), and the 'bigger picture' of his opponent-to-be, Apollo Creed (Carl Weathers) planning out his next boxing match with his promoters. I'd like to draw particular attention to these contrasting scenes as we watch both boxers prepare for their inevitable head-to-head matchup. Rocky's preparations for the fight of his life are very deeply emotional and poignant scenes as we watch a man who's never really gotten much of a chance or much luck in anything, being presented with one shot at glory, one chance to prove he's not a nobody. Creed's scenes are brilliant and entertaining examinations of the boxing world and the business-minded ideas that go behind it. Creed comes across as almost more a businessman and entrepreneur than an athlete as he goes about exploring how he can make the most money and get the most media attention in his next bout. I absolutely love the infectious energy in these scenes of a man who lives for the showboating and glory that comes with being the heavyweight champion of the world. The character of Apollo Creed is one of the best elements of all the Rocky films, as it gave Rocky such a great foil to play off. Here he's an opponent, later on he's a friend, and in Creed he became the symbol of something more, something for Michael B. Jordan's Adonis/'Donnie' to aspire towards.


The writing behind his character is such a strong element through the films as he switches from adversary to closest confidant, but anyway here he's the opponent, but never just a straw man for Rocky to go against. Even in the later films in the series, the villains were always rather one-note (Rocky III and Rocky IV), downright awful (Rocky V) or just a bit forgettable, if serviceable (Rocky Balboa and Creed). In this film and its direct sequel, we get not only a worthy opponent, but one who is really a memorable person and character. Weathers is one point, as is Meredith as the gruff trainer, and really the whole cast is a great ensemble. One of the weaknesses of many boxing films nowadays is that besides the main boxer, and maybe his trainer, the other characters are either too thinly sketched or mere caricatures. These problems can sometimes be absolved with strong performances (The Fighter), but there's a reason why Rocky is still the masterpiece of the genre. A colourful supporting cast supports our underdog hero, and as we watch Adrian come out of her shell and Paulie become a slightly nicer fella, we really get invested in their little character arcs.


Of course, what is a boxing film if it doesn't deliver in the climactic match. Well I have to say that the climax to Rocky is the king of all climaxes. I'd say it begins even before the match officially begins, in that now iconic montage of Rocky training for the big fight to Bill Conti's rousing 'Gonna Fly Now'. Everything about that scene is perfect.

Then when we get down to the nitty gritty fight, it's fascinating watching how it begins as almost a theatrical show with Apollo pulling off some ridiculous showboating punches to toy around with the underdog Rocky, and gradually changing into a more primal, visceral and violent pummelling of fists against cheek, body shots, head shots.

There's so many great moments in this sequence, from Apollo's first fall, to Rocky getting up and gesturing for Apollo to do his worst, to the reaction shot of Adrian closing her eyes, fearing for Rocky's life, but continuing to support him. The boxing fight isn't just a montage of thrown punches and hits, there's little arcs to follow within it, culminating in that incredible ending. Rocky doesn't win, he loses by split-decision to Apollo, but he really couldn't care less, and nor could we.

As the winner's name resonates in the background, and we watch Rocky and Adrian embrace, the film's moral rings clearer than ever: winning or losing doesn't matter, as long as you've given it your biggest and best shot, you're a victor in everyone's minds, and a champion at heart.