Rocky: Cinematic TechniquesStudent’s NameInstructorInstitutional AffiliationDate”Do you believe that America is the land of opportunity?” a promoter asks Rocky Balboa in the film “Rocky”. The belief of the American dream gives the thematic impetus for the movie, which proposes that as humans, we possess a potential for being great that can be realized. Related to this theme of the American dream is another theme: love’s transforming power (Motley, 2005).
Being appreciated can transform an individual and give the needed support for personal growth and achievement.The protagonist represents the little person or the individual who has come to a desperate predicament. However, when fate in the form of Apollo Creed gives him an opportunity, he meets the challenge at hand and – shockingly – realizes his own particular strength and greatness. Thirty-year-old Adrian starts out as a washout too. However, through rubbing shoulders with Rocky, she blooms into a beautiful lady and consequently supports him in his change (Balboa, 2012).The opening shot of the movie is of a golden portrait of Christ on a gym wall. In a slow revelation, the camera zooms back to bring a boxing ring into the picture. An engraving of a single word on the wall is seen behind the audience and the boxers: Resurrection.
The scene utilizes low lighting, and it puts emphasis on non-heroic sounds, for example, the sound of the bell and the voices of the crowd indicating the end of a round (Lipscomb & Tolchinsky, 2005). The protagonist wins, however, the film’s methods make his triumph to appear like a loss. The movie closes with a fight that actualizes the resurrection promise of the scene in the beginning. In the last scene, glorious music and high key lighting bring out the climactic feeling of victory as Rocky manages to go the distance. The decor is blue, white and red, out of appreciation for the country’s bicentennial and the acknowledgment of the American dream (Lipscomb & Tolchinsky, 2005).
The film is loaded with recurring pictures that serve to build up the fundamental ideas. Animals are utilized all through as analogs of people. At the point when Rocky visits Adrian in a pet store, we see a hound, a boxer in a cage, which becomes associated with Rocky. Like these confined creatures, these two individuals are trapped, enclosed by their poor mental self-portrait.
The scene closes with a two-shot and select-focus of them in a mirror. Shots of Rocky staring into the mirror are utilized all through to imply the idea of self-esteem and identity (Motley, 2005). At the point when Rocky comes back to his room after the opening match, he is seen peering into a bowl that houses two turtles which Adrian sold him.
They serve to emphasize the fact that Rocky is lonely until the point when Adrian visits his room. Animal symbolism is additionally present in the meat corpses where Paulie works. As Rocky punches one, Paulie remarks that he is breaking the ribs, which is exactly what he does in the huge match with Apollo Creed (Balboa, 2012). Billboards are likewise noticeable recurring images. Earlier in the movie, in Rocky’s apartment, we see a big poster of Rocky Graziano, his hero, and namesake. The camera moves from this picture to a low point shot of Rocky.
At that point, there is a cut to the mirror with pictures encircling it, and the camera zooms into a picture from childhood. The kid looked up to the triumphs of his boxing role model, yet the mirror shows that the grown-up Rocky must face the decreased condition of the life he has made for himself up until this point (Motley, 2005). In the last fight scene, a tremendous picture of Rocky is seen in the background, showing that he has at long last accomplished his ideal. Rough’s positioning in the film is frequently away from the camera. After he is victorious in the opening fight, he departs the changing room, walks into the avenues of Philadelphia past a few singers, and afterward proceeds alone, leaving the camera as it goes from right to left. This is seen again as he leaves the training facility in the wake of having been thrown out and when he leaves Gazzo in the road. The shots of Rocky’s back bring out his feelings of hopelessness and loneliness (Stallone, Gees ; Wexler, 2002).
Likewise, with regards to this portrayal of dejection and entrapment is the mise-en-scène, which emphasizes long streets and corridors and cramped spaces, similar to Adrian’s house and Rocky’s apartment. The lighting utilized is relaxed. However, after Rocky has been in preparation for some time, we see him jogging through the roads and a montage of parts of his exercise routine appears. The lighting is high key, peaking in his simple jog up the flight of stairs that had brought him such agony toward the start of the training. He has transformed; he is presently fit as a fiddle both mentally and physically, and the lighting uncovers this change (Stallone, Gees ; Wexler, 2002). Colors are for the most part muted, with the exception of the red lampshade in Rocky’s apartment, which adds to the exotic nature of the love scene. Red is likewise the shade of Rocky’s boxing robe and of Adrian’s garments when she gives Rocky a gift of the hound.
The color appears to underline the resurgence of life for the two individuals. Obviously, the bicentennial white, blue and red dominate the mise-en-scène of the last fight scene. Throughout the movie, source sound from the television or the radio is heard in the background, first to present the heavyweight champion, and then to convey his challenge, lastly to show Rocky as a celebrity. The first instance where we come across this sound is in the Lucky 7 Tavern where Rocky goes to talk with Paulie (Lipscomb & Tolchinsky, 2005).
They meet in a beat down washroom, and the shady atmosphere of the place appears to be ironically far-removed from anything identified with the discussion of titles in the background. Through the methods Avildsen has picked, the protagonist depicts the redemption of a failure, an unimportant person who recaptures his masculinity and confidence, raising up all the little individuals – Mickey, Paulie, Adrian – around him and all the while encapsulating the myth of the normal man as the epitome of the American dream. ReferenceBalboa, R. (2012). Rocky Balboa (film).
The Sylvester Stallone Handbook-Everything you need to know about Sylvester Stallone, 199.Lipscomb, S. D., & Tolchinsky, D.
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Motley, C. (2005). Fighting for manhood: Rocky and turn-of-the-century antimodernism. Film & History: An Interdisciplinary Journal of Film and Television Studies, 35(2), 60-66.Stallone, S.
, Gees, B., & Wexler, N. (2002). Staying alive. Paramount Home Entertainment.