Transcending Masculinity (Re)reading Rocky …thirty years later

by Heather Collette-VanDeraa

Notions of masculinity have been an epoch’s need to explore an experience that discussed in film scholarship for decades, with as yet has not been adequately formulated and the genre of action films, particularly that thematized” (131). The ‘experience’ that has of the boxing film, providing a most fertile yet to be adequately formulated in Rocky is a ground for discourse. While Rocky (1976) did construction of masculinity that must adapt not inaugurate the genre, it remains one of the to, and reflect, the changing cultural climate of seminal films of not only the boxing genre, but working- and middle-class values in light of civil of all American films, providing an archetype rights and gender equality. In his struggle to of masculinity that spawned a franchise. Many achieve champion status, Rocky Balboa navigates and emotional development, both of which are of these films repeat a theme of triumph a new cultural terrain marked by a disruption of achieved through his interpersonal relationships. against all odds that relies on a negotiation and traditional gender roles. While the hard-body/ Rocky Balboa’s masculinity is marked by a assertion of masculinity in its most physical action genre of films has presented an arguably personal catharsis of emotional self-actualization (and often violent) forms. Jurgen Reeder (1995) homogenous class of masculine iconography, that transcends his raw physicality and role asserts that “these films seem to be a kind of Rocky can be deconstructed today in light of an as an underdog boxer. As any athlete will tell ritual where a seemingly identical dramatic historical re-reading to demonstrate a nuanced you, physical strength is enhanced by a mental structure is reiterated many times over…such representation of masculinity simultaneously and emotional fortitude, which develops in ritual repetition of dramatic themes express[es] embodied in the character’s physical strength Rocky primarily though the titular character’s MAY08 18 CSupdateW interpersonal relationships. Rocky’s development is still caught up in boxing and fighting, but he ...Rocky presents a nuanced, if both physically and emotionally is enhanced is attempting to prove himself as a man who somewhat sentimental, archetype through his relationships with principle love will not fight, in part due to the fact that he had of a man who must negotiate his interest, Adrian (Talia Shire), and boxing rival blinded his last opponent, something he feels masculinity through complex Apollo Creed (Carl Weathers) as well as the strong remorse for. Therefore, his masculinity emotional relationships with others, other men, most notably the father-figure is, like Rocky Balboa’s, at least partly defined trainer, Mickey (Bergess Meredith), and Adrian’s by his humanity toward others. Although, like while simultaneously developing his brother Paulie (Burt Young). In contrast to views Rocky, both men must fight at some point to physical strength. expressed in other studies of the film, Rocky demonstrate that masculinity is only partly presents a nuanced, if somewhat sentimental, defined by humanity; it is subtextually implicit archetype of a man who must negotiate his in each of the fighting scenes in From Here to masculinity through complex emotional Eternity and Rocky that regardless of their own relationships with others, while simultaneously self-definition of manhood or personhood, it is (Frank Sinatra), who is ultimately killed. Pruett developing his physical strength. It is these the fight that will define them within the larger then avenges his friend’s murder by engaging relationships that frame the central plot of world they must inhabit. Pruett’s philosophy the perpetrator in a back alley knife fight, killing Rocky’s physical training and ultimate match in of masculinity is revealed when he states, “A him. In the end, it is WWII—the penultimate the boxing ring, which, unlike the interpersonal man should be what he can do,” punctuating fight—that provides the context for the most relationships, ends in ambivalent defeat. the fact that masculinity is a function of action sanctioned form of fighting. Fighting therefore and behavior—not how he feels, what he wants, must be contextualized in the spectacle of how he thinks, but what he does. Just as Pruett formalized boxing or war in order for it to be Fighting The Good Fight defines himself, and his masculinity, through his a redeemable masculine characteristic. Brute humanity and his role as a career soldier, Rocky force or violent tactics without justification Rocky follows from a long tradition of boxing defines himself and his masculinity through his are punished or frowned upon. Pruett’s fate themes in films. One particularly poignant identification as a boxer and his relationships is to die at the gun of one of his own men on example, From Here to Eternity (1953), was with others. the evening of Pearl Harbor, whereas Rocky another prominent American film with a central In both films, contextualized fighting is an Balboa is scorned by Mickey early in the film, plotline devoted to a boxing match between acceptable form of masculine expression—From who admonishes him for his brutish career the protagonist, Private Pruett (Montgomery Here to Eternity takes place in the military choices: “You could have been a fighter but Clift), and another soldier at an army base. setting at a camp in Hawaii in 1941 prior to the instead you became a cheap leg-breaker to a Pruett’s boxing match is one he explicitly does US involvement in WWII. The film shows the second-rate loan shark. It’s a wasted life.” The not want to fight and much of the film traces brutal barbarism of a military bully habitually commentary suggests that to fight in the ring— his circumvention of the match. His masculinity beating up a sympathetic character, Maggio the formal, controlled, contextualized fight—is MAY08 19 CSupdateW legitimized over the street fight—the informal, we are never self-actualized. And unsanctioned, uncontained fight. while they “fill gaps” together, it is also important to note that filling of gaps does not mean they complete each Binary Oppositions other, only together forming a whole person; rather, through their relation to Much of Rocky’s thematic structure each other, each becomes a whole self. is explored through binary pairings that In an exchange between Rocky and function in a dyadic structure of cooperation Adrian at the ice rink, Rocky reveals or competition. Rocky-as-boxer is situated that his motivation for becoming a Rocky & Adrian’s Thanksgiving date at the rink, in direct opposition to Apollo Creed, but boxer was stimulated by something his discovering their complementarity. Rocky-as-man is contextualized in both his father said to him, “You weren’t born with much opposition to Creed and in his relation to of a brain so better start usin’ your body.” To Adrian, especially, and among the other men which Adrian replies that her mother informed in his life. Rocky’s masculinity is situated in a her, “You weren’t born with much of a body so binary opposition to every other principle male better start developin’ your brain.” This early advances made by feminism” (49). Elmwood character in the film, including Mickey—the scene in the film’s narrative demonstrates (and claims that the oppositional pairing of Rocky aging father figure/trainer, Paulie, the alcoholic not without a bit of campy humor) that Adrian and Apollo Creed somehow advances the fight but aspiring manager (who are also positioned and Rocky complement each other in the most against the feminist movement through the in opposition to each other). The exception is basic way, a way that never denigrates Adrian’s ‘remasculinization’ of (white) men, though it the only principle female character, Adrian. status as his female counterpart, but rather is unclear what content of the film squarely Rocky’s masculinity and Adrian’s femininity are provides a foundation for a relationship based in supports this claim. She states, “It is clear that expressed in relation, not opposition, to each mutual regard, balance, and equality the moral universe of the film relies squarely other. In Rocky’s own words, their relationship between them. on her [Adrian’s] efforts to fulfill a properly with one another is about “filling gaps.” He tells Feminist scholars may be quick to argue feminine role by serving the champ and Paulie in the meat locker, “I don’t know…she’s this point with me, as evidenced in claims humanizing him” (pp 57-58). As I will illustrate got gaps, I’ve got gaps; together we fill gaps.” made as recently as 2005 by V. Elmwood that below, it is not a subservient role that Adrian While the language Rocky employs to express “Rocky offers masculine status and national plays to Rocky, but that of a loving partner who this parity is simple, it is by no means simplistic. citizenship to a previously rejected group in has discovered her own agency through the The gaps he refers to, in both himself and exchange for their allegiance in a quest for the relationship they forge together, not least of Adrian, reflect an understanding of the flawed remasculinization of white men…as well as which is sparked by Rocky’s ability to see Adrian nature of individual existence -- that in isolation offering a bond of solidarity in rolling back the as a real, whole person. MAY08 20 CSupdateW This ability to see is signified in the first scene provides the context with which of the film. Rocky opens with the camera pulling oppositional notions of masculinity away from a mosaic of Jesus (the epitome of come to light in the film. Most non-violent masculinity) above a small-time notably, their relationship makes Paulie boxing ring. Rocky Balboa, the “Italian Stallion,” increasingly jealous until it culminates wins his fight in a minor pay-for-play situation. in an alcoholic rage on Christmas He wins the match, but his appearance is that Eve. A moment of catharsis for both of a defeated man. (It is also interesting to note Adrian and Rocky takes place during the bookending of the film: it opens with Rocky this scene when Paulie challenges winning in a small time ring but looking and Rocky’s worthiness of his sister’s love. feeling defeated, and ends with him losing in Adrian lives with Paulie, and as he sees a big-time ring but feeling triumphant. This it, he is her ‘caretaker,’ but it is really simple inversion is not as simple as it may she who takes care of him—and in Rocky with the loan shark: the eye injury seem when we examine the course of Rocky’s the most backward, anti-feminist role. Paulie signifies Rocky’s shift in perspective emotional transcendence from a small-time interrupts Rocky and Adrian’s serene holiday hoodlum to a self-actualized man.) His left eye scene by shouting, “You owe me!” A visibly was injured during the fight and in the following angry Adrian defends herself: “I don’t owe you scenes Rocky strolls through his working- nothing! I take care of YOU Paulie, I don’t owe oppressive domination (that of her alcoholic class neighborhood in his role as a thug (and you nothing,” to which she reflects and adds, brother) for another; she makes the choice to presumably not a very good one because he “and you made me feel like a loser!” The binary enter into a relationship of equals with a man has sympathy for those who owe the money) of winners and losers is evoked repeatedly as a she admires and loves. When she asks him, for a “second-rate loan shark.” The eye injury central theme in the film, as Adrian and Rocky “want a roommate?,” we know that Rocky is is significant in that it symbolically represents together become ‘winners’ through overcoming deserving of both her love and companionship; a shift in his perspective. He goes through the individual and shared obstacles. In this scene, he could have played the defending figure, motions of his job, but his outlook on his world Paulie is the principle obstacle to be overcome, a potentially violent interlocuter in Adrian’s and himself has been affected; he does not see but it is significant to note that Rocky does confrontation with Paulie, but he chose instead things the same as before, or soon won’t. The eye not attempt to fight what is ultimately Adrian’s to remain seated. That the scene could have been injury is a painful foreshadowing of his change fight. He stays calmly seated in a chair while staged with Rocky defending Adrian and not of perspective and eventual catharsis that takes she confronts Paulie alone, and on her own have affected the greater plot of the film, nor him off the streets as a lone thug into the ring— terms. Rocky’s serene masculinity contrasts the outcome, is significant to the pro-feminist and into a loving relationship with Adrian. sharply to Paulie’s brutishly violent, domineering reading I am encouraging here. While the scene The romance between Adrian and Rocky role. Adrian does not exchange one form of is problematized by the almost voyeuristic nature MAY08 21 CSupdateW of the seated Rocky watching Adrian fight, it silent understanding that conflict resolution provides an important inversion of the later requires responsibility for wrongful, hurtful scene where Adrian will decide not to stay seated actions. He owes her an apology and offers it in order to watch Rocky in the championship to her freely. Rocky’s manhood is punctuated fight against Apollo Creed. Once again, a by this exchange, demonstrating the power of balance is articulated between Adrian and Rocky contrition and forgiveness, which, rather than that transcends simple oppositional binary to making him weak, actually serves to make establish them on equal footing. him stronger emotionally and psychologically. Rocky and Adrian must also negotiate conflicts within their relationship and one Masculinity and sexuality: significant scene that illustrates their conflict “Women weaken legs” resolution is when he tells her to “just make the Adrian arrives at Rocky’s doorstep with a meat,” a brute statement that disregards Adrian’s new look and a new dog. personhood, and recalls the derogatory way Rocky and Adrian’s relationship is that Paulie had treated her. She begrudgingly compromised when she initiates sexual activity goes into the kitchen, but the camera stays on after Mickey tells him not to ‘fool around.’ just to Rocky, but to Adrian as well; she is truly Rocky, who silently contemplates his hostile Rocky says that he really likes her and Mickey getting strong now. Free from the repressive order. Rocky then walks toward the kitchen and replies, “so let her train ya!” The phrase next restraints of archaic notions of sexuality and sex, apologizes saying, “I’m sorry.” This is a sharp uttered by Mickey, “Women weaken legs,” intimated by Mickey (the father-figure), Rocky contrast to dominant expressions of masculinity, is an overt commentary on how femininity and Adrian fortify their relationship with an especially those embodied in the hard-body in any form, but especially female sexuality, open and mutual sexuality that enhances, rather boxer or blue-collar worker, which seldom threatens male virility and masculinity. In than diminishes, each’s individual strength. represent strong men apologizing to women for the next scene Adrian is waiting on Rocky’s In the same scene, Adrian brings Rocky a their wrongful actions. While providing a tender doorstep, increasing in her feminine expression, dog “to keep you company when you run” and and sentimental moment on screen, the off- movement, and personal empowerment; expresses humorously that the dog eats little screen narrative constructed between Rocky and “looking good,” as Rocky tells her. It’s clear turtles. She knows how much Rocky loves his Adrian is that of mutual regard and respect. It is from his response that Mickey’s ‘advice’ will little turtles, and she makes a light-hearted only after Rocky apologizes that Adrian emerges go unheeded, but more importantly that the joke of it, again illustrating the compassion and from the kitchen—the penultimate signifier sexual relationship inferred from the diegetic integrity of their relationship. That she is able to that this is a relationship of equals: Adrian interaction is a source of strength for both light-heartedly poke fun at Rocky’s ‘sympathetic won’t be stuck in the ‘kitchen’ of pre-feminist Adrian and Rocky. In Bill Conti’s iconic theme side’ only serves to demonstrate the facility of gender roles. Rocky infers from the moment a song, the lyrics “getting strong now” apply not his masculinity that transcends brute strength. MAY08 22 CSupdateW The sexual relationship notwithstanding, Rocky amongst the press in the ring Adrian’s support of Rocky’s training, both and Adrian in the crowd. When he emotionally and in the companionship offered sees her, the first thing he says is, by the dog, overtly contradicts Mickey’s myth “Where’s your hat?” Is this the line to that ‘women weaken legs’ because it is clear her be uttered by a pulverized man who encouragement is helping to strengthen Rocky’s can barely see anything out of two personal fortitude. swollen and bleeding eyes—where’s In the final scene of Rocky, the champion your hat? It is almost comical upon fight against Apollo Creed, Adrian emerges reflection, considering the gravity from the locker room to see the fight during the of the scene and what Rocky has 10th round. The fight, contrary to the assertion just been through. But it is precisely by Elmwood (2005), is not yet over, and Adrian because from the beginning Rocky struggles to see Rocky in the ring. Whatever was able to see Adrian, see the personal obstacle had held her back in the nuances of who she is as a person. It The denouement: “Where’s your hat?” locker-room (which takes place off-screen) is appropriate in the culmination of everything has been overcome as she enters the arena to he has worked for, in the less than subtle witness the end of the fight. Rocky’s eye is dénouement of the love story, that Rocky sees bleeding again, but this time his perspective has the detail of her missing hat, demonstrating his masculinity as being defined through violent already shifted; his catharsis is complete in his ability to see clearly the one thing that matters physicality and brute strength alone. Rocky’s transformation from ‘just another bum from the most to him: her. triumph is signified by his personal catharsis of neighborhood’ to a prizefighting boxer (though The moment is punctuated by closing music, meeting an insurmountable challenge espoused not yet a champion). He tells Mickey to “cut which is triumphant even though Rocky has by meaningful emotional and psychological me,” to release the blood preventing him from not won the fight. The implication is that he bonds within his interpersonal relationships. being able to see: he won’t allow himself to be has gained something more valuable, a strong Rocky offers a complex representation of blinded by self-doubt again. He can see clearly emotional bond with a woman whom he has not masculinity that warrants reconsideration and the next scene illustrates the nuanced nature had to fight for, together creating a relationship amongst scholars and film buffs alike. of Rocky’s sight. of equals based on complementary characteristics I am hesitant to attribute this construction The final utterances in the film are particularly and reciprocal affection and support. The very of masculinity in Rocky to either the director, poignant in light of the context of the scene. last lines are each of them embracing each other John G. Avildsen, or the writer/actor, As the fight has reached an anti-climatic end saying, “I love you” in a triumphant embrace in Sylvester Stallone, alone. Rather, I posit it as a for Rocky, each of the characters shouts for the the boxing ring. Rocky is at its core a love story representation culled from the collective shifting other—the famous “Adrian!/Rocky!” dyadic— that problematizes unilateral assumptions about ideologies of dominant gender roles as well as MAY08 23 CSupdateW In light of the quickness to implicate with. In light of the quickness to implicate References all genre films exploiting male all genre films exploiting male physicality as Avildsen, J.V. (Dir.).1976. Rocky [DVD]. United physicality as being anti-feminist, I am being anti-feminist, I am interested in a more States: MGM. interested in a more contextualized contextualized analysis of the interpersonal Elmwood, Victoria A. “‘Just Some Bum from the relationships in the film’s narrative to Neighborhood’: the Resolution of Post-Civil analysis of the interpersonal demonstrate the complexity of Rocky Balboa’s Rights Tension and Heavyweight Public relationships in the film’s narrative to polyvalent and transcendent masculinity. Sphere Discourse in Rocky” (1976). Film & demonstrate the complexity of Rocky History: An Interdisciplinary Journal of Film Balboa’s polyvalent and Heather Collette-VanDeraa is a fourth-year Mass and Television Studies 35.2 (2005) 49–59 Jeffords, S. 1994. Hard Bodies: Hollywood transcendent masculinity. Communications Studies major, Women’s Studies Masculinity in the Reagan era. New minor at UCLA. She has presented original re- Brunswick, NJ: Rutgers University Press. search titled, “The L Next Door: Fashioning Lesbian Reeder, J. 1995. “The Uncastrated Man: the social norms, values, and mores of the 1970s. Archetypes on The L Word,” at conferences at ASU Irrationality of Masculinity Portrayed in From an historical perspective, Rocky came and Wellesley College. Two of her most recent works, Cinema.” American Imago 52.n2. to the screen during an era that Cagin and “Media, Myth and Moore: the Myth of Objectivity Zinnemann, F. (Dir.). 1953. From Here to Eternity Dray call “Political Hollywood, the time when and the Documentary Films of Michael Moore” and [DVD]. United States: Columbia Pictures. Hollywood made movies for a growing youth her senior honors thesis, “Media Ghettos? Redlin- counter-culture that wanted to see challenges to ing of American Cable Television Topography,” the political system” (Jeffords, 1994: 16). While were accepted for presentation at two regional and many subtextual themes in the film indirectly national research conferences. She also co-produced confront the political and economic issues of the and directed an original documentary short, Staging day, the social dynamics of the struggle for racial and gender equality clearly frame the dramatic Resistance, presented at UCLA’s Graduate School interpersonal narrative of the film; a response to of Theater, Film and Television. She has published the civil rights and feminist movements of the an academic book review of W.J.T. Mitchell’s “What 1960s and early 1970s that played out in public Do Pictures Want” in the International Journal and political spheres. The feminist movement of Communication, co-authored with Douglas sparked the interest in studies of masculinity, Kellner. She begins her MA program in Cinema and which Rocky, holding the cultural capital in Media Studies at UCLA’s School of Theater, Film male iconography that it does, is imbued and Television this fall.

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