(***½)
He’s punching above his weight class. Hollywood bets against him, but they shouldn’t.
That’s how writer/actor Sylvester Stallone got his classic movie Rocky made. It’s a feat that must have impressed director Peter Farrelly (Green Book), as he and his team recreated this journey behind that iconic film. If they’ve done it the right way, they’ve got a crowd-pleaser. If they’ve done it the wrong way, they’ve got a tacky melodrama on their hands.
The story begins in New York City, where the fledgling actor (Anthony Ippolito) can’t land a role that pays a living wage. Eventually, he finds work in porn films. The money helps, but it’s just a bridge to something bigger. Few believe in him, except his dog Butkus, a Bullmastiff, and his new girlfriend Sasha (AnnaSophia Robb). She becomes his positive life force, telling him, “I’d rather be an opportunist and be wrong.” Those humble beginnings make Stallone immediately accessible to audiences familiar with Rocky and those discovering his story for the first time.
After the couple and pup pack up and move to L.A., nothing much changes. Their grappling continues until Stallone, now a car valet, shows some of his scripts to famed producers Irwin Winkler (P.J. Byrne) and Robert Chartoff (Toby Kebbell). A screenplay about a boxer catches their eye. Seemingly, that bit of fortune becomes life-changing. Realistically, it’s only the beginning of another onslaught of aggravation, fights for dignity and a chance to realize his potential.
Peter Gamble’s script has three clear acts: suffering in New York, suffering and pitching in Los Angeles and finally, the making of the highest-grossing film of 1976. But the steps forward and setbacks never stop. Viewers ride an emotional roller coaster from sorrow to happiness, love to anger, satisfaction to disappointment and back again. It’s as if the world is against the young man and his dreams, and the Hollywood machine is the biggest hurdle he’s ever faced. It’s a Goliath that sets up Stallone as David.
The trials and frustration the emerging actor/writer experiences while trying to get a project made back in the ‘70s remain relevant today. It’s the kind of inner and outer battle audiences love—especially if the protagonist has a chance to succeed. Thus, the monumental ending becomes one fans of the OG film will remember kindly and newcomers will appreciate for the first time.
All the magic of the 1970s Oscar-winning Best Picture is here. Brick by brick editor Sam Seig builds the footage into an increasingly compelling portrait. When Stallone’s spirits rise or fall, Dave Palmer’s score appropriately underscores his emotions. Sleeping in alleys, tense Hollywood negotiations and sparring in boxing rings feel immediate because Anthony Gasparro’s production design anchors each setting. All of it captured by Sean Porter’s perceptive cinematography and lighting design, which is faithful to the grimy streets of New York, sunny skies of Los Angeles and urban spirit of Philadelphia.
Farrelly masterfully mines the comedy, romance, drama and bravura without disturbing the film’s balance. Expect viewers to break into applause during this film, whether they’re in a theater or at home on the couch. That’s the kind of reaction filmgoers get when lead characters fight like hell for what they want. It’s a spirit that holds the entire film together for two hours and eight minutes. And in the process, Stallone, now a media darling, doesn’t become a cartoon image of himself. He’s given a certain dignity in spite of his humbling—sometimes embarrassing—situations.
Ippolito catches the nuances of Stallone—the speech pattern, tunnel-tone voice and physical movement. He looks, talks and walks like the real man. All hope rests on the actor’s shoulders and his ability to bring the young Stallone to life, and he handles the challenge impressively. Robb, as his supportive wife, is the voice of reason and hope. Stephan James plays a charming Carl Weathers, making it feel as if he and Stallone have stumbled onto something bigger than either of them.
Tracy Letts, as the studio head Sandy Maddox, wants the milk but not the cow, and badgers Stallone endlessly. That makes him the adversary viewers will want to strangle. His character is the product of a compelling screenplay, one with distinct characterizations and a supporting actor who knows how to turn up the villainy to a fever pitch. Add Matt Dillon into that mix, as the father with the sensitivity of a tree, and the ensemble cast becomes quite strong. Like they could go the distance in a 15-round match.
By the time the film gets knee-deep into its final chapter, the audience is fixated on the scenes that are so iconic in Rocky. Visions of the boxer running through the streets of Philadelphia, punching hunks of meat in a freezer and getting bludgeoned during fierce battles are quite evocative. And of course, the indelible image of Rocky running up the steps of the Museum of Art, where he raises his fists to the heavens, takes the film to a state of nirvana for fans of the movie. Learning how all those iconic moments were shot is almost as stirring as watching Stallone create his signature movie.
It’s easy to root for this underdog. This inspiring biographical drama wins by a TKO.
Trailer: https://www.youtube.com/watch?v=ACaWuqeLpSk
Photo by Claire Folger and courtesy of the Toronto International Film Festival
For more information about the Toronto International Film Festival go to https://tiff.net/.
Visit Film Critic Dwight Brown at DwightBrownInk.com.
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