ronnie@uunet.UU.NET (Ron Schnell) (11/26/90)
ROCKY V
A film review by Ron Schnell
Copyright 1990 Ron Schnell
Reviewed by: Ron Schnell
Los Angeles, CA
Copyright (C) 1990, by Ron Schnell
All Rights Reserved
ROCKY V (Sylvester Stallone, writer, Michael S. Glick, Executive
Producer) has gotten a lot of press as the "last" of the ROCKY movies.
It is certainly one of the best. After ROCKY (Best Picture, Best
Director, Best Editing, 1976 Academy Awards), none of the sequels really
had the same kind of "feel" about them. After seeing ROCKY V the reason
becomes clear. ROCKY V is directed by John G. Avildsen, who has not
directed another ROCKY since ROCKY I. Mr. Avildsen has the ability to
direct people so gently, and to direct action so forcefully, that the
effect on the audience is quite stirring. Mr. Stallone's new found
love for comedy is also evident in this film.
ROCKY V starts where ROCKY IV left off, which has been the case in
all of the ROCKY films. Rocky (Sylvester Stallone) has just finished
knocking out the Russian boxer/killer and flys home to meet the press
and face his next challenge. The first thing one notices hearing Rocky
talk is that dumb-sounding, slurring voice that we have all come to
know. Only this time it is noticeably dumber-sounding, as are the
things Rocky says. What we eventually find out is that Rocky has
sustained damage to his brain, which will prevent him from ever being
licensed to fight again (in the United States). This is a similar
problem to one found in ROCKY II, in which doctors tell Rocky that he
will never be able to fight again without risking blindness. Somehow
though, director Avildsen really makes us believe that this will be the
end of Rocky as a boxer. To make matters worse, a crooked accountant
has lost all of Rocky's money and house and leaves him destitute. If
not for the pleading and crying of Rocky's wife Adrian (Talia Shire), he
would have immediately gone back in to the ring, probably risking his
life. Rocky must retire and dedicate himself to figuring out a way to
support his wife and son Rocky Jr. (Sage Stallone). Rocky Jr. is now
of grade-school age and will have to move back to the projects of
Philadelphia. Eventually, Rocky meets up with a young fighter from
Oklahoma named Tommy Gunn (Tommy Morrison), who wants Rocky to train him
to be a heavyweight contender. This movie is about the conflicts
between all of these characters, a Don King-type fight promoter named
George W. Duke (Richard Gant), and Rocky's strong desire to get back in
to the ring so that he can give his family the life they deserve.
ROCKY V marks the serious acting debut of both Sage Stallone, and
Tommy Morrison. Sage is one of two of Sylvester Stallone's sons by
ex-wife Sasha Stallone. After seeing his performance in this film,
there is no question that we will be seeing him again. His natural
talent for acting could be described as better than his father's.
Perhaps it is due to the fact that he is playing a character who has
many similarities to himself. Tommy Morrison was chosen to play the
part of Tommy Gunn, solely based on his ability as a boxer, not as an
actor. After seeing the film, I do not think that this was a good risk.
His acting could not be described as much better than poor, and it is
tough not to laugh when he speaks. For those of you who do not like rap
music, be prepared to sit through a couple of long raps during action
scenes. It's a lot different from the "Rocky Theme," or "Frank Stallone
Jr.," or "Survivor" (all music from previous ROCKYs). A closing credits
song by Elton John is sure to get a lot of airplay from this movie.
Background music is still done by Bill Conti. Burt Young returns to
play his role of Paulie. He seems right at home returning to the slums,
and pulls no punches in trying to bring Rocky to reality.
I found myself really feeling for Rocky for the entire movie. His
situation is both believable and moving. As in all sequels, I walked in
thinking, "This had better be the last one." But as in all ROCKY
sequels (except maybe ROCKY IV which I viewed as terrible), I walked out
thinking, "Another one wouldn't be that bad."nathans@eleazar.dartmouth.edu (Nathan Shafer) (11/26/90)
ROCKY V
A film review by Nathan Shafer
Copyright 1990 Nathan Shafer
Capsule Review: Rocky, due to his brother-in-law's
financial mismanagement, his wealth, and returns to his
old neighborhood. He is also forced by medical problems
resulting from boxing to retire from fighting, while
promoters clamor for more fights. This is a nice change
from the monolithic juggernaut of the last three
films, and a return to the kind of characterization that
made the first film great. A bit heavy-handed at times,
it still pleases and (wonder of wonders!) surprises
from time to time.
On the Leeper Scale, I give it a high +1 to low +2 ( -4 to +4).
Many of the best stories I have read or seen on film have been
variations on the "test tube" model of plotting: take some chemicals (or
characters), throw them together in a test tube, and see what happens.
The more reactive and volatile the chemicals (or the characters), the
better. Stories which follow this model usually follow one of two paths:
a "slice of life" path, which shows realisticly what would happen to
such characters in such a situation at a realistic pace, or a hyperbolic
path, in which events which would realistically occur over a span of
years take only a few weeks, or even a few hours, and in which
characters' motivations are amplified to a level approaching parody.
This film follows the second of these two paths.
The problems facing the Balboa Clan as they move back into the
original seedy neighborhood they originally left behind are predictable:
Less physical comforts; neighbor-fans constantly hanging around; Rocky's
kid, who now has to attend the local public school, facing harassment by
the neighborhood "bad boys." These are all present, and they are not
done especially realistically. The kids in this "seedy" neighborhood of
Philly, for example, are all white, and the worst vices they seem to
have acquired are cigarette smoking and having pierced ears. The image
of Philly's bad neighborhood seems to be a gentle one, pre-desegregation
and pre-crack.
There is an extra complication, however: Tommy Gunn, a young boxer
from Oklahoma (he looks oh-so-farmboy, too!), who idolizes Rocky and has
come to Philly to seek him out, and receive the wisdom of this boxing
guru. Rocky, seeing a chance at vicarious re-attainment of greatness,
takes Tommy under his wing to train him, while neglecting his son, who
desperately needs the kind of fatherly support Rocky bestows to Tommy.
Themes of fatherhood, parental neglect, and juvenile rebellion are
raised here, but the situations that come up in a matter of weeks seem
to be the kind that in real life occur over years. This, however, does
not detract from the power of this side of the movie. The questions
raised here are dealt with neither delicately nor subtlely, but neither
are they dismissed with platitudinous responses or excessive exposition.
On the technical side, this movie uses to full effect the kind of
imagery the Rocky films have been built on: sweeping montages, images of
faces in the crowd, Adrienne saying Rocky's name, and of course punches,
punches, punches, seen from every angle and with blood on the mat to
spare. The film, however, also takes advantage of Rocky's brain damage
to use some surreal imagery of Rocky's previous fight with Ivan Drago,
as well as some reminiscences of Mickey, Rocky's old trainer (played
once again by the wonderful Burgess Meredith). This is in fact the
most nostalgic of the Rocky movies, looking back on them with fond
memories. As Rocky prepares to move into the old neighborhood, he
doffs his old hat from the old days when he was muscle for a loan shark;
Adrienne returns to work at the pet store where she originally met Rocky;
Rocky returns to work at the gym where it all started.
In many ways, this movie is like going home, after a rather
tasteless digression into world politics and several boring rehashes of
the old question of the "immovable object" and the "unstoppable
force." It is especially pleasing to note that even within ten minutes
of the end I wasn't sure how the film would end; this film, unlike the
others, does not have the sunny Reagan Era Stallone who uttered such
lines as "Go for it." Stallone seems to have, upon entering the 90s,
reflected some upon his own mortality, the transience of wealth, and
some of the simpler pleasures of life.
Nathan Shafer
Dartmouth College, NH