Logline of Rocky: A small-time Philadelphia boxer gets a supremely rare chance to fight the world heavyweight champion in a bout in which he strives to go the distance for his self-respect.
Writer: Sylvester Stallone
Director: John Avildsen
Genre: Sports drama
Starring: Sylvester Stallone, Talia Shire, Burt Young, Carl Weathers, Burgess Meredith
Release Date: December 3, 1976
Script Can Be Found Here
As part of a weekly series, I’m looking at some of the WGA’s List of Top 101 Screenplays to see how everyone’s favorite screenwriting formula shows up. I neither condone nor condemn the framework. I’m just deeply curious about how it shows up in modern, great films.
Rank on WGA List: #78
“Rocky” Summary:
Rocky Balboa (Sylvester Stallone) works as a small-time enforcer for a loan shark. Despite his tough exterior, Rocky is a kind and humble man with dreams of making a name for himself in the boxing world. His life takes an unexpected turn when the current heavyweight champion, Apollo Creed (Carl Weathers) decides to give an unknown fighter a chance at the title.
Apollo Creed, seeking a unique gimmick for the fight, selects Rocky as his opponent based on his nickname “The Italian Stallion” and his working-class background. The boxing match is set, and Rocky begins a grueling training regimen under the guidance of his crusty but caring manager, Mickey Goldmill (Burgess Meredith).
As Rocky prepares for the biggest fight of his life, he also navigates a budding romance with Adrian Pennino (Talia Shire), a shy pet store employee. Adrian becomes a source of strength and support for Rocky, adding depth to his character and highlighting the human side of the underdog story.
The climactic showdown between Rocky and Apollo takes place on New Year’s Day at the Philadelphia Spectrum. Against all odds, Rocky gives a resilient and valiant performance, lasting the full 15 rounds and going the distance with the champion. The fight becomes a symbol of determination, heart, and the triumph of the human spirit.
In the end, Rocky loses the match in a split decision, but he gains something far more valuable – respect and admiration from the boxing world and the public. The film concludes with Rocky declaring his love for Adrian and expressing gratitude for the opportunity to prove himself.
“Rocky” Analysis:
| Number | STC Element | Page(s) in Script | Event in Script |
| 1 | Opening Image (page 1) | 1 | In script: INT. BLUE DOOR FIGHT CLUB – NIGHT SUPERIMPOSE OVER ACTION… “NOVEMBER 12, 1975 – PHILADELPHIA” … The club itself resembles a large unemptied trash-can. The boxing ring is extra small to insure constant battle. The lights overhead have barely enough wattage to see who is fighting. In film: a mural of Jesus above the boxing ring in the gym. |
In the script, the Opening Image of an unemptied trash can sets the stage of Rocky as an underdog. In the film, the opening image of Jesus gives us a sacrificial hero motif. With both of these in mind, we’re led to believe that there’s nowhere to go but up and that Rocky will be a tale of resurrection/ascension.
| Number | STC Element | Page(s) in Script | Event in Script |
| 2 | Theme Stated (page 5) | 3 | ROCKY: I’m a fighter. |
This tracks with the theme of the movie in that Rocky has to overcome so many external and internal battles. He’s more than just his profession here.
| Number | STC Element | Page(s) in Script | Event in Script |
| 3 | Set-Up (pages 1-10) | Page 1 – 10 | Six Things that Need Fixing: 1. Rocky gets bloodied and bruised from the first fight, 2. He lives in a crappy neighborhood, “the most deprived neighborhood of South Philly,” 3. He lives in a crappy apartment, 4. He works as a debt collector for a loan shark, confronting a lender who can’t pay his bills, 5. There’s an angry customer with a puppy in the bag who wants to return it (Rocky takes it out), 6. He likes Adrian, but she’s painfully shy, 7. In not breaking the lender’s thumb, Rocky finds out that Gazzo is a tad peeved at that |
Here’s what’s interesting about the Set-Up: there’s literally a save-the-cat (or save-the-puppy) moment when Rocky takes the puppy out of the bag of the angry customer. Per Snyderian rules, this is the moment when we’re shown that our protagonist is a good guy (a.k.a. he gains likeability points from the audience).
Having completed several of these STC analyses, I am noticing a pattern about the protagonist’s set-up: the Six Things that Need Fixing usually boil down to a similar set of crappy circumstances: crappy job, crappy boss, crappy relationship (either no love interest, relationship on the rocks, or wanting someone from afar), and an overall sense of loneliness/despair.
| Number | STC Element | Page(s) in Script | Event in Script |
| 4 | Catalyst (page 12) | Page 13 | Rocky opens his locker and realizes his stuff has been moved out. Rocky then confronts Mickey who says that Dipper needed it. |
When he opens his locker and finds that his stuff has been moved, we know that isn’t just a space issue; it’s a power move against him. It’s a Catalyst because it upsets the balance of his everyday life and sends him the message that he’s losing ground.
| Number | STC Element | Page(s) in Script | Event in Script |
| 5 | Debate (pages 12-25) | Pages 13 | Rocky confronts Mickey, who claims that he’s “cleaning house.” |
Rocky learns that Mickey is beginning to shove him out because Rocky is getting older and “a tomato.” Rocky doesn’t know what to do with this information.
This isn’t much of a Debate for the next few pages (i.e., do I stay or do I go?), but Rocky doesn’t exactly know what to do with this information just yet. There doesn’t seem to be a sense of urgency or danger, just a general suckitude about life and what to do next.
| Number | STC Element | Page(s) in Script | Event in Script |
| 6 | Break Into Two (page 25) | N/A | N/A |
So, here’s the thing: according to STC, the Act Break is the moment “we leave the old world, the thesis statement, behind and proceed into the world that is upside down version of that, its antithesis. (STC Goes to the Movies, page 78). As this usually occurs by page 25, I looked and saw that none of that happens here.
Instead, Rocky talks with a gang of street kids, including Marie, and tries to steer her in the direction of not being a whore. We don’t see Marie again in this film. In fact, it seems to just serve as one extended STC scene (look! Rocky’s a nice guy!).
By page 32, Apollo says that “On January first, the first day of the Bicentennial, I’m gonna fight me a local poor underdog, dig?” and, by page 35, he sets his sights on “the Italian Stallion.” Here’s what’s interesting about it – this sets the stage of what’s going to happen in Rocky, but Rocky doesn’t know that yet. Despite this event occurring right around the page count where it would occur, it’s still difficult to say that it’s an official act break because Rocky hasn’t taken a new course of action that has locked him into a new world.
Which is kind of cool. In bucking traditional narrative convention, Rocky is moving at its own pace and following its own intrinsic story logic.
| Number | STC Element | Page(s) in Script | Event in Script |
| 7 | B-Story (page 30) | Page 2 or Page 18 | He tries to talk to the painfully shy Adrian, but she doesn’t say much. |
Nope. STC doesn’t track with Rocky and page count. Technically, the B-Story starts on page 2 or 3 when they meet; here, there’s a little more of an exchange (enough for him to complain in the next scene with Paulie), but we don’t have a defined end of Act One or beginning of Act Two. So, while this exchange is totally organic to the story, it doesn’t conform to the STC framework.
What’s interesting is that both Adrian and Rocky have a lot in common; they’re both pushing thirty, seem soft-spoken, and are considered losers/outcasts. (In the film, they even bear a similar resemblance with their features).
In many ways, they’re two sides of the same coin; as Rocky says on page 42, “I think we make a real sharp coupla coconuts — I’m dumb an’ you’re shy.” Later, he notes, “She got gaps. I got gaps – together we fill the gaps.” (p. 71)
| Number | STC Element | Page(s) in Script | Event in Script |
| 8 | Fun and Games (pages 30-55) | N/A | N/A |
The Fun and Games piece on the A-plot (which would be about Rocky prepping for the fight) doesn’t exist in this part of the script; in fact, Rocky doesn’t even know about Apollo’s intentions yet. Instead, it’s the fun and games of courting Adrian (see Thanksgiving, ice rink, and apartment scenes).
I’m actually beginning to wonder if the Adrian plot and the fight plot are all the same; as in, he’s going to try to win the fight so to prove himself to the girl (he even mentions on page 42 that, for most of his life, “All I wanted to prove was I weren’t no bum – That I had the stuff to make a good pro.”
In that case, there may be no B-Slot. What’s interesting is that the stakes haven’t been established yet – win the fight or lose Adrian.
| Number | STC Element | Page(s) in Script | Event in Script |
| 9 | Midpoint (page 55) | 53 | Rocky accepts the invitation to fight Apollo Creed. |
This is an interesting Midpoint because the opportunity to fight Apollo feels like it’s coming in late. If you think about it, being offered the chance to fight Apollo feels like a catalyst, Rocky debating it feels like, well, a debate, and finally accepting it feels like the break into two. If we were to follow this, the Fun and Games would be Rocky training, and the midpoint would be a new challenge being thrown Rocky’s way.
That the film chooses this to be its Midpoint creates a unique pace, setting up a lot that the second half of the film intends to pay off.
| Number | STC Element | Page(s) in Script | Event in Script |
| 10 | Bad Guys Close In (pages 55-75) | N/A | N/A |
Once Rocky accepts Apollo’s invitation, he begins ramping up to fight by making an appearance on TV, hiring Mickey as a manager, and training in the meat locker and gym with fans and reporters coming up to him..
So, this feels more like fun and games; except for Paulie acting like an ass when talking about his sister, none of this feels like bad guys closing in.
The only exception may be Apollo entering the gym with his entourage to give a showboating threat, but are they really Bad Guys Closing in? Feels more like cheap p.r.
| Number | STC Element | Page(s) in Script | Event in Script |
| 11 | All is Lost (page 75) | N/A | Whiff of Death: N/A |
There really isn’t an All is Lost moment on page 75. Instead, when provoked by Dipper, “Rocky starts to bend towards the shoes. Without warning, he explodes with a pair of combinations into Dipper’s exposed ribs. A CRACK is HEARD and Dipper sinks to the floor writhing in pain… The room is silent except for Dipper’s moaning” (p. 78). This is actually a moment that shows Apollo and everyone who they’re messing with. If it truly was an All is Lost/Whiff of Death moment, then Rocky would’ve received the blow, not Dipper, and would’ve had to try to recover in time for the fight.
On pages 84-86, Paulie erupts in rage at Rocky and Adrian, threatens them with violence. Rocky’s able to calm him down. Sure, it’s a tense and violent scene, but is it really an All is Lost moment? Methinks not.
| Number | STC Element | Page(s) in Script | Event in Script |
| 12 | Dark Night of the Soul (pages 75-85) | 94 | Rocky confides to Adrian that he can’t do it. |
Having trained and watched Apollo’s films, Rocky confides to Adrian that he doesn’t think he can fight Apollo, but then says that “he ain’t no bum and wants to go the distance.” So, it’s a brief moment, but one that he doesn’t spend too much time indulging in. (I can’t help bu t wonder if it really is a Dark Night of the Soul?). Once he mentions “No foolin’ around…, “ we get…
| Number | STC Element | Page(s) in Script | Event in Script |
| 13 | Break Into Three (page 85) | 95 | INT. ARENA – NIGHT 92It is the night of the Bicentennial fight… The location is the Philadelphia Spectrum. |
According to STC, the Break Into Three is defined as essentially the answer/solution to the protagonist’s problems up until now. Well, yes. Here in Rocky, it has more to do with paying off what has been set up since the beginning of the script (or, at least the Midpoint) when Rocky decided to enter into fighting with Apollo Creed. The fight will redeem Rocky from living out life as a bum and prove to himself, to Adrian, Apollo, and everyone that he can rise up.
| Number | STC Element | Page(s) in Script | Event in Script |
| 14 | Finale (pages 85-110) | 95-117 | The Bicentennial Fight |
The Bicentennial Fight IS the focus of the third act; it really is where Rocky, the underdog, goes up against the showboating Apollo Creed. Rocky gives it his all.
But here’s the thing: Rocky doesn’t win. A split decision, it’s announced that the Heavyweight Champion of the World is still Apollo Creed. Mickey nevertheless reassures Rocky that he’s still a winner, and the crowd is divided between Rocky and Apollo.
| Number | STC Element | Page(s) in Script | Event in Script |
| 15 | Final Image (page 110) | 117 | Still suspended in air, Rocky leans down and Adrian jumps upand they lock in an embrace. ADRIANI love you — I love you — I loveyou… The two are swept along into the greatest night anyone can remember… |
Having Rocky fight and not get his goal does several things: first, he proved it to himself that he could make it this far and put himself through the pain of training and fighting; second, victory in the ring may not be so much about winning on the mat as it is about winning off the mat (a.k.a proving himself to Adrian).
It also leaves room for a sequel. And, given that it was made in the 70s, the somewhat mixed ending reflects the confusing spirit of the times. Influenced by European cinema, many American films chose to have ambiguous or even downbeat endings. “Guy overcoming all odds to win fight and get girl” isn’t a story that seemed to fit with the times.
That being said, Rocky may fit with its times, but it doesn’t conform to Save the Cat! I think that if it did conform more to STC, the film would be more about Rocky accepting the challenge much earlier in the script, training much earlier in the script, encountering an event that considerably raised the stakes at the Midpoint, suffering an injury in the All is Lost moment (instead of Dipper), wallowing a bit/possibly losing Adrian in the Dark Night of the Soul, regaining confidence at Break Into Three, and kicking ass and winning during the Finale and Final Image.
But the only issue is – haven’t we all seen this film before?
Open to your thoughts…