(*I just found out about Carl Weathers the morning after posting this and wanted to say how much of a legend the man was and how much his performances in some of my favourite movies and TV (the Rockyโs, Predator, Happy Gilmore and The Mandalorian to name but a few) made me happy. Just a fantastic presence and you will be missed sir.ย RIP Apollo)
With awards season in full swing, I wanted to start February with one of the underdog classics; ROCKY.
Plot in a nutshell: A Philadelphia boxer on skid row gets the chance of a lifetime when the world champion chooses him for his next fight.
The greatest strength of this script is not just its story. Itโs what Stallone offered every writer out there after he finished the script; the writers pledge to put their personality all over the script in broad and powerful strokes and make the two things one. This script has Stallones voice pouring through it and you can barely read it without picturing him at a small typewriter in a dishevelled apartment. This is his real world and Stallone is just channelling it.
Rocky opens with a hell of an intro. A less than gripping boxing match that still holds the attention, keeping you instantly enthralled in Rocky and his world. Then, steadily over the next 10-12 pages, we are emerged into Rockyโs world, following him over 24 hours in his life. Most scripts could never be allowed to spend that much time with the lead character without getting the story going, but here it is an essential element that builds the drama and most importantly, has us liking Rocky from the get go. We need to like Rock to want to engage in this story and this is where Stallone adds just the right notes (helping a homeless person to get shelter, playing with pet shop dogs, cracking dad jokes to impress Adrien, moonlighting as a mob collector, but letting his victim off when they come up short) and this forms his world and we are just grateful this guy is such a sweetie under his gruff appearance.
There is an odd magic to this script that is subtle, yet endearing. Though there are some outdated terms being used here (the ethnicity of characters are utilised to denote their societal position and class. Though of its time, itโs not a system of description that would carry nowadays), generally itโs still bang on the money. The dirty locations of Rockyโs world are ruggedly descriptive. The action directions at times are almost smashed into the page, rather than written. There is a roughness that suits the page and it is as if you have been handed a script by the bouncer at your local pub. But it works. Oh sweet heavens, it works.
Stallone has also nailed the difference in the characters voices. Language, rhythm, cadences, accents, intonationโฆitโs all there. No one person sounds like another, which is a cracking feat. When you listen to these characters talk, sometimes, you almost want to weep at how real and heartfelt they are. They can say such kind things and be so supportive, and yet at times, be so harsh and cruel. At the centre of this are the two central characters; Rocky and Apollo Creed, both of whom could not sound more different, yet both carry the air of warriors. Truly an eye opener in terms of character creation.
This script has something so powerful in it. Iโve only read a few scripts so far that have shown this quality of feeling and this script is absolutely rammed full with bags and bags of heart.
So, what did I learn from ROCKY?
1) If I had to pick one scene that sums this whole script up, it is the scene where Rocky goes to meet Paulie at the meat factory to get some meat for his diet. The conversation between the two of them about Adrian, Rockys rage rising from Paulieโs disrespectful comments about his sister and then his descent into the darkness of the chiller as he pounds away on the carcasses of the slaughtered cows, is both powerful and dark. A beautiful, (bordering on) perfectly written scene.
2) A nice surprise around p.79 is a scene in Micks gym between Apollo, Rocky and one of Micks other fighters; Dipper. In short, a promotional event doesnโt go the way anyone expected and it elevates how dangerous Rocky can actually be. Shame it didnโt make it to the end film, but a cracking little scene and worth the read alone to see what else could have been from this script.
3) One thing can definitely be said; Stallone knows how to write a montage. He makes each camera angle feel like a scene. Each sequence of actions could be taken as one scene, or one section of a whole. That is for the filmmakers to decide, but it is a clever technique and a generous skill.
4) The piece de resistance though is the last twenty pages. Iโm still in awe whilst writing this. THAT is how you write a boxing match. That. A balletic mix of ADs, characters bravado (or in Rockyโs case, awe at everyone elseโs), crowd energy, corner crew for the respective boxers and most effectively of all, the commentators. How Stallone uses them is the all powerful glue that binds the other bricks together. On screen, these segments are an essential component, but not as exciting as the fight. On paper, they are everything. The commentators energy and running commentary is our greatest insight into what is going on. The tension ramps up steadily, masterfully, never giving away who is going to win. Or how. It is just a bewildering mix of blows, injuries and sweat. This takes us beyond the simple realms of a fight sequence for choreographing. This is a full blown boxing match and this script is mapping out every swing.
An epic read and frankly, one hell of a contender.
Link to the script;
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