Rocky III (1982, Sylvester Stallone)

RockyIII

A series of reviews looking at Sylvester Stallone’s two most famous characters, Rocky Balboa and John Rambo, film by film…

Spoiler warning: these reviews reveal plot twists.

Now the world champion, Rocky Balboa faces a threat from a young new fighter…

What does Stallone do? Sly wrote the script, directed the film, and obviously reprised the role of Rocky Balboa. A few years after the events of Rocky II, our lead character is now world heavyweight boxing champ. We see a quickly cut montage of him easily beating various challengers in the ring, becoming a major celebrity (even appearing on The Muppet Show – the footage comes from when Stallone was in an episode for real), meeting presidents and raising a family. However, his world come crashing down when he loses his title to a young upstart from Chicago. Down and out, and having also lost his father figure, Rocky resolves to win the rematch… This film maybe sees Stallone’s acting talent stretched a bit thin. It’s a pretty docile performance and lacks the charm of the first two movies. Nevertheless, Rocky remains a compelling character because he’s a nice guy – unlike other famous boxer characters. He’s not a violent, quick-to-temper thug like Raging Bull’s Jake LaMotta, neither does he carry the anguish of On the Waterfront’s Terry Malloy. And that makes us root for him even more.

Other main characters:
* Up-and-coming boxer Clubber Lang (Mr T) watches on as Rocky fights a string of no-hopers. When the Italian Stallion then announces his retirement at a public event, Lang steps forward, confronts his rival and demands a shot at the championship. Affronted by the younger man’s arrogance and brashness, Rocky has little choice but to agree. Clubber wins the bout easily – his punches sound like shotgun blasts, his arms look like pneumatic pistons – which sets up the second half of the film as Rocky works towards a redemptive rematch… More a force of nature than an actor, Mr T plays Clubber with a snarling, fuck-you attitude at all times. And yes, at one point he says, ‘I pity the fool.’ This film is where the catchphrase comes from.
* Paulie Pennino (Burt Young) has not benefitted from his brother-in-law’s success; as the story begins, he’s still a bitter dullard stuck in a Mean Streets-style life. When he lashes out drunkenly and breaks a Rocky-branded pinball machine, Rock has to bail him out of jail. Rocky then agrees to give him a job, which involves Paulie standing around for the rest of the movie and doing a lot of moaning.
* Early on, Rocky takes part in an exhibition fight against Thunderlips, the reigning world wrestling champion played by real-life wrestler Hulk Hogan. Given all the razzmatazz and the fact the event is for charity, Rocky assumes it’s going to be a faux fight – a bit of fun for the punters – but Thunderlips then attacks him for real, forcing Rocky to respond in kind. Balboa wins eventually, and to his credit Thunderlips’s aggression drops instantly: it *was* just an act.
* Mickey Goldmill (Burgess Meredith) is still Rocky’s trainer, but suffers from severe chest pains a couple of times. When Rocky says he’ll take on Lang, Mickey doesn’t want anything to do with it because he reckons Rocky can’t win. Lang has the hunger that Rocky has long since lost (and, admits Mickey, Rocky has been fighting handpicked below-par boxers since film two). Rocky soon talks him round into helping, but just before the fight with Lang, Mickey has a heart attack. Soon after Rocky loses his championship belt, Mick dies in the locker room. (In the storytelling handbook, this is called the lowest ebb.)
* At Rocky’s first bout with Clubber, former champion Apollo Creed (Carl Weathers) is ringside doing media work – and he takes an instant dislike to the disrespectful Lang. So after Rocky’s defeat and Mickey’s death, Apollo offers to train his old foe for the rematch. He takes Rocky to a rundown gym in LA, away from all the hype in Philadelphia, but Rocky struggles with Apollo’s techniques.
* Adrian Balboa (Talia Shire) mostly stays in the background of her husband’s story. Her only big moment is a scene on a Californian beach where she and Rocky spell out the subtext to each other: ‘You gotta [fight Lang] for the right reasons – not for the guilt over Mickey, not for the people, not for the title, not for the money or me. But for you.’
* The Balboas’ son, Rocky Jnr (Ian Fried), looks to be about six years old now, which kinda makes sense when you consider that Rocky II (1979) was only set a few months after Rocky (1976).

Key scene: By this point in the series, training montages have become as much a part of the idiom as Stallone’s slurred delivery and fights with a thousand punches per round. Rocky III contains more than one. The best, which comes directly before Rocky and Lang’s rematch, is a whopping 205 seconds of Rocky running on beaches, hitting punching bags, sparring with Apollo and learning how to be nimble on his feet.

Review: The song Eye of the Tiger by Survivor is heard a few times in this movie, but it’s not just a catchy bit of soft rock to keep us entertained and flog the soundtrack album. Its title phrase becomes a mantra given to Rocky during prep for the rematch – ‘Eye of the tiger, Rock,’ calls out Apollo. ‘Eye of the tiger!’ – while the tune’s lyrics tie in directly to the film’s theme of celebrity. ‘You trade your passion for glory,’ counsels lead singer Dave Bickler. ‘Don’t lose your grip on the dreams of the past/You must fight just to keep them alive.’ Rocky III has several scenes that reflect this idea – while Rocky appears on TV and gets a taste of the showbiz word of pro-wrestling, his fame and money are making him soft. His training sessions for the first fight with Clubber are glitzy, open-to-the-public events with bunting and a house band. Clubber, meanwhile, trains hard and wins. Away from this thematic thread, there’s nothing much new to the Rocky format: it’s the third movie in a row with the same basic structure and a very similar finale. But it’s passable fun.

Six has-beens messin’ in my corner out of 10

Next: First Blood

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Lifeboat (1944, Alfred Hitchcock)

Tallulah Bankhead In 'Lifeboat'

An occasional series where I review a randomly selected movie directed by Alfred Hitchcock…

Spoiler warning: these reviews reveal plot twists.

After a ship is torpedoed by a U-boat, a group of survivors find shelter in a lifeboat – but they also take aboard a German…

Soon after its launch in 1944, Alfred Hitchcock’s Lifeboat began to sink. Influential film critics objected to the even-handed depiction of a German character – a U-boat caption no less – and Twentieth Century Fox responded by limiting the number of prints in circulation and soft-pedalling the advertising. The movie actually ended up losing money at the box office.

It was released before the Normandy landings, so perhaps this reaction is understandable in the heightened context of the Second World War (even if, at the time, star Tallulah Bankhead called the critics moronic). But today it’s an unfair critique of a mostly excellent film. The first of Hitch’s single-location experiments (cf Rope, Dial M for Murder and Rear Window), Lifeboat presents an intriguing situation then populates it with memorable characters, plenty of drama and reversals of fortune. It’s a buoyant film, with themes that bubble to the surface. But there are also choppy waters along the way, as well as some dangerous undercurrents…

After an attack by a German U-boat, a passenger ship goes down in the Atlantic Ocean. A small group of survivors – a famous journalist, a couple of seaman, a nurse, a wealthy industrialist, a mother with her baby, a British radioman and a ship steward – find refuge in a lifeboat. They’re adrift, isolated and helpless. Their supplies are low and they have no means of contacting anyone.

The overall tone of the film is gallows humour mixed with a Blitz spirit. Despite the subtext of fear, there’s a real can-do attitude amongst this group. Whether it’s proactively fixing the boat’s damage or cataloguing supplies or playing cards – or working as a team to amputate a gangrenous leg! – these characters come together despite their differences. Every person in the story makes a contribution, even the character with the shortest screentime (Heather Angel’s Mrs Higley, whose baby dies but she’s too catatonic with shock to notice).

The nominal lead is journalist Connie Porter (Tallulah Bankhead), who appears at first to be a thoroughly awful woman, one so selfish that she boasts of the photographs she’s taken of the disaster rather than helping the victims. She starts off as an immaculately turned-out lady of society, but as she sheds clothes and accessories due to the heat and dehydration we get to know more and like her more. She even develops a cross-class flirtation with the rugged John Kovac (John Hodiak), a man who takes his shirt off at the earliest opportunity and flaunts his tattoos.

Elsewhere, there’s the affable but badly injured Gus Smith (William Bendix), the sweet and stoic Alice MacKenzie (Mary Anderson), eccentric, cigar-chewing millionaire Charles J Rittenhouse Jr (Henry Hull), the friendly and resourceful Stanley ‘Sparks’ Garrett (Hume Cronyn, sadly putting on a pretty dire English accent) and the calming presence of ship steward Joe (Canada Lee). But thrown into this mix is an additional survivor, one who threatens to scuttle the sprightly group.

Floating through the wreckage of the passenger ship, they pull a stranger aboard. ‘Danke schoen,’ he says as he regains his breath, and the implication is immediately obvious. He’s from the U-boat, which itself has now sunk. But should our characters help stricken Willi (Walter Slezak)? Or should they just throw him overboard? He’s not an outwardly evil man, even offering help with poor Gus’s busted leg and suggesting the correct way to Bermuda. But he’s still the enemy. The dilemma of what to do with him drives much of the story, creates divisions within the lifeboat survivors, and has a shocking climax…

Based on an original idea by Hitchcock, the script was initially written by playwright John Steinbeck. (Ernest Hemingway had also been sounded out.) However, it was later tinkered with by a number of hands and Steinbeck disowned the project. In many ways, it’s a marvel. The dialogue is punchy yet meaningful and has a pleasing rhythm. The story never flags, despite the single setting. And you always want to know what’s going to happen next. But there is a problem. It’s one of the reasons Steinbeck turned his back on the movie. Lifeboat, regrettably, is lazily racist in its depiction of the story’s only black character.

Given the eras in which he produced movies it’s not surprising that Hitchcock’s diversity record is, by today’s standards, rather appalling. Other than Lifeboat’s Joe, his only other significant non-white character is charismatic spy Philippe Dubois (Roscoe Lee Brown) in Topaz. When black men (never women) are otherwise spotted in Hitchcock movies, they tend to be servile or docile. The plot resolution of Young and Innocent, meanwhile, has a white character hiding under blackface.

At least Joe is played by a conscientious actor who tweaked his dialogue to remove the worst of the clichés he’d been given to say (the yessirs and all the rest). But, sadly, the character still comes across like a second-class citizen who’s there to entertain the others with his flute and sort out their food supplies. He rarely has a voice of his own, he has to ask not to be called by the generic black servant name of Charlie, and other characters initially use the nickname Charcoal.

But if this blemish needs us to turn a blind eye, in its physical staging Lifeboat *excels*. The studio recreation of the rough desolation of the mid Atlantic Ocean is a wonder of filmmaking and gives the story so much texture. It was achieved via a number of methods. Four different boats were built for the production; two were complete, while two were cut in half so the camera could get closer to the actors. A water tank was used for certain shots where a boat could be held in place by wires; another vessel was on rollers to better control its pitch and yaw. Dump tanks and chutes allowed thousands of gallons of water to be sloshed around. Dry ice created hazes of ocean mist and fog. Footage of endless, barren seas off California and Florida was played behind the actors on enormous rear-projection screens. In the final cut, everything is then accompanied by smartly chosen and edited sound effects. It all creates a tremendous sense of place.

Filming might have come at a price. The cast were repeatedly soaked with water and had to contend with motion sickness; Tallulah Bankhead caught pneumonia twice; Mary Anderson fell ill; Hume Cronyn suffered broken ribs and nearly drowned. But their sacrifices were worth it. Lifeboat is worth clinging to.

Nine before and after pictures in a newspaper ad for Reduco weight-loss drug out of 10

NOTE: I cut the following paragraph from the above review because it didn’t really fit into the flow, but the gags are so good I thought I’d add it here as a kind of ‘deleted scene’ extra:

There were moments of levity along the way too. When actress Mary Anderson asked Hitchcock what he thought was her ‘best side’, he said, ‘You’re sitting on it, my dear.’ After being told that Tallulah Bankhead had a habit of not wearing underwear, and this may cause an issue if caught on camera, Hitch is said to have joked, ‘I don’t know if this is a matter for the costume department, make-up or hairdressing.’ And when the director argued that he didn’t want the film to have a score because the audience would be asking where the music is coming from, a caustic composer commented, ‘Ask Mr Hitchcock to explain where the camera came from and I’ll tell him where the music comes from.’