Rocky II Review

(Article published in La Vanguardia on December 19, 1979)

The Stallone formula still works. The violence of boxing as the culmination of a dramatic line that puts the feeling in the foreground, without forgetting the humor. “Rocky” was the answer to a cinematographic world full of eroticism and catastrophic formulas.

The return of the hero, but under new profiles. And with an incentive: the tenacious man that Stallone gave as an example was himself, and the ring, in real life, could be the set. Sylvester, the son of émigrés, a new American, was little known when he pitched the plot for “Rocky” to the producers. At the time they told him about buying the idea for someone else to interpret it, he said no. At the same time that he sold the story, he offered himself as an interpreter, and won the Oscar and fame. After this Stallone has directed and played other types, but the character retained incentives for a second film. Rocky Balboa lost the fight, but he was a moral winner.

The rookie, performing with his own effort, was placed for those that the producers – young and dynamic – Winkler and Chertoff wanted to send. Or maybe the opposite. Stallone recovered at the same time as Rocky Balboa and in the second part he rejoined the same characters, but this time addressing himself. It’s time to say it. The direction is less agile than in the first film at the level of romance. The love story is explained with some weakness, but the movie takes us where Stallone wantedand if Paris was worth a mass for Enrique IV, the combat as we live it thanks to the inspiration of Stallone, is completely worth the viewing of the second part of “Rocky”.

The character continues: clumsy, without any intellectual prominence, with outbursts of great ingenuity that make the audience laugh. Stallone, in his own voice, has an accent, and inimitable turns of Philadelphia, I guess the dubbing has not been without difficulty. On the other hand the tenderness of a boxing filmis a curious mix that can conquer the public, like the figure of the boxer, capable of triumphing based on faith in himself, and a religious faith drawn from his Italian origins. It is one of the most positive films in terms of personal morality: like the previous one, with respect to the minorities that swarm North America, and with a message nothing less.

A man can go anywhere he wants. It is enough that he proposes them and can cultivate his innate conditions. The tape keeps exploding too excellent image of Talia Shire, the good work of the veteran Burgess Meredith and again an excellent Burt Young. The excellently combined photography by Bill Butler, serves up a sequence that looks like a tribute to the International Year of the Child. Balboa, training thoroughly, made a “Pied Piper of Hamelin”, leads all the children of the city behind a rhythmic race that tests his strength. Very good musical support. Inspired by Conti, and another Stallone, Frank, introduces a couple of songs. “Rocky”, let’s remember, in 1976 was considered by the Hollywood Academy as the best film. Avildsen, best director. “Rocky” won another Oscar for best editing. Angels Maso

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Rocky II Review

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