Camby expresses his distaste for optimism in movies such as Rocky.  He satirizes the optimism of Rocky and a number of other ‘feel good’ films through extrapolation of the events in the movie to a pessimistic outcome.  For example, he claims that Rocky should end with Rocky being exposed as a pedophile.  It is interesting to note that this is exactly the type of movie that Sylvester Stallone didn’t want to make when he wrote Rocky.  By D. Goldstein

This article is a preview of upcoming films in November, 1976.  The author states that 1976 (up to and including October of that year) was the “year of the bomb” and expresses his worriment over having a year of complete “blahs.”  Rocky, the future recipient of the Oscar’s Best Picture Award recieves no more attention in this article than any other forthcoming movie.  By D. Goldstein

This article previews Rocky two months before its debut in November.  The article details Stallone’s background from the “sleazy sections” of Philadelphia and notes Stallone’s opposition against the “realistic,” cynical movies that dominated the 1970s Vietnam war era.  This article also quotes Stallone saying that an actor needed to look his/her part as much as be able to act it.  By D. Goldstein

This article describes some of the work of John Alvidsen.  It describes his method of directing and his reactions to Times Critic Vincent Camby calling his movie “corny.”  The article also discusses some of Alvidsen’s improvisational skills for working with a limited budget in Rocky.  It seems as if directors working with low budgets could not film according to standard operating procedure, but had to develop techniques as they went along.  By D. Goldstein

This article describes a number of things including:  Audience reception of Rocky as a classic underdog story, Alvidsen’s acceptance speech for Best Director at the 1977 Oscar Awards, comparisons between Stallone and Marlon Brando, to a moderately long biography of Stallone’s life.  Kasindorf’s opinion of Stallone’s acting contrasts with New York Times critic Vincent Camby, showing that Stallone’s acting was well received by some within the critics’ circle.  By D. Goldstein

An ad for the premier of Rocky at Cinema 2 in New York City.  The ad notes only one theater showing Rocky on its opening night.  This could either be due to the fact that other theaters initially didn’t want to carry Rocky because they thought that it would not be a successful film or there simply weren’t many theaters in Manhattan in 1976.  By D. Goldstein

This article is the original Philadelphia Inquirer review of Rocky.  The article praises the film thoroughly.  It interestingly notes that much of Rocky was filmed in the “Fishtown” section of Philadelphia and also that Stallone chose the city for its Bicentennial theme.   The fact that the review comes from a Philadelphia newspaper probably explains why every aspect of the film was praised.  By D. Goldstein

Camby basically writes a negative review of the film Rocky.  Like Ray Elson, Camby points out the anachronistic qualities of the film and calls it “make-believe of the 1930’s.”  For the most part, Camby lambastes Stallone and Weather’s acting and praises Shire’s portrayal of Adrian.  Again, the acting in Rocky wasn’t what made it a success but rather it’s “feel good” message at a time when the country was cynical after Vietnam and Watergate.  By D. Goldstein

Shire talks about her experience playing Adrian in the movie Rocky.  She describes her methods for understanding her character.  Shire also discusses her relationship with her brother, Francis Ford Coppola who thought “women should be at home making babies” and who didn’t want Shire acting in the Godfather movies.  It is interesting to see how women were marginalized in the world of Hollywood even in the 1970s.  The role of the woman, Adrian, in Rocky is pivotal for the success of the male, Rocky Balboa.  By D. Goldstein

Stallone discusses the artistic processes that went into writing Rocky.  Klemesrud also describes the history of the movie from its conception and the debate over who should play Rocky to the details of the script and the choreography of Rocky’s final fight with Apollo Creed.  Klemesrud also reveals Stallone’s adamancy against the protest culture of the post-Vietnam war era.  I’m sure such a popular film as Rocky with an upbeat, optimistic ending would have had effects on films made afterwards.  By D. Goldstein

In this article, Elson categorizes Stallone’s portrayal of Rocky as an anachronistic boxer from the 1930’s or 40’s.  He claims that the fighter’s persona as a slow-talking, dimwitted boxer from the dirty streets of Philadelphia has tainted the ways people perceive boxers.  By D. Goldstein

This article describes how Rocky increased levels of self-pride for Philadelphians.  The article discusses a number of Philadelphia’s problems in the late 1970s.  The article also states that Philadelphians were proud of the example Stallone set for the city when he made Rocky and that he is a symbol of hope for the city.  The photograph of the man jogging the steps at the Art Museum is perhaps a reference to the influence Rocky had on citizens’ awareness for the need to exercise.  By D. Goldstein

 A review of Stallone’s acting in the movie Rocky.  Camby basically states that Stallone’s acting is not up to par with the other actors of his era, saying that Stallone is basically “impersonating” rather than “acting.”  By D. Goldstein