“Sly,” which takes a movie lover’s journey through Stallone’s career, shows you how he continued to shape his image onscreen, and how much of our blockbuster culture he created.
His star went through turbulent waters after “Rocky.” He played a character modeled on Jimmy Hoffa in the 1978 epic flop “F.I.S.T.” — where, in hindsight, he was martyred by the debut of a Hollywood screenwriter infinitely inferior to himself; that would be Joe Eszterhas. The same year, Stallone directed and starred in “Paradise Alley,” which was like “Rocky” reduced to a piece of candy corn.
And since “Rocky II” was destined to feel like a pale echo of “Rocky,” which it was, Stallone completed the re-invention with “Rocky III,” by sketching in the final Big Rule of franchise culture. Namely: Go bigger. Put the sequel on steroids. It was an over-the-top idea of moviemaking, but the power of “Rocky III” is that Stallone’s commitment shined right through the excess. It was his idea to cast Mr.
These days, that anti-downer-ending ideology sounds pro forma and corrupt — the sort of thing Robert Altman skewered in “The Player.” But the point is that Stallone flipped the culture around. What was “Rocky,” after all , if not the first act of Reaganism? It was the unconscious roots of Morning in America, the revolution against the revolution.
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