Tag Archives: Talia Shire

Eavesdropping at the Movies: 279 – Rocky – Part II: The Rocky series

March 1, 2021Eavesdropping at the Movies, podcastboxing, Burgess Meredith, Burt Young, Carl Weathers, Creed, Creed II, John G. Avildsen, Michael B. Jordan, Rocky, Rocky Balboa, Rocky II, Rocky III, Ryan Coogler, Steven Caple Jr., Sylvester Stallone, Talia Shire, Tessa ThompsonNotesonFilm1

Our two-part discussion of Rocky concludes with a look at the entire series of eight films, including the two Creed movies. It’s a series that’s deeply interested in its own history, regularly referring to it in montages of characters’ memories, journeys back to iconic locations, and the reintroduction of one particular character in Creed II. The series rewards its audience for its investment, although despite featuring a soap opera-like series of melodramatic plot developments over its many films, almost everything that refers to a previous film refers to the first one. Other than the events of 1976’s Rocky, which laid the foundation for the series, only Apollo Creed’s death and Ivan Drago’s defeat in Rocky IV have lasting impact on later films.

We discuss how, following his superhero-like physicality in the Eighties, the character of Rocky is brought back down to Earth in his old age, his body ravaged by time, his life broken by loss. And we think about how the milieu evolves over time, the music, for instance, changing from barbershop/a capella singing in the Seventies, through power ballads in the Eighties, to rap and hip-hop in the 2010s. And we discuss much more besides.

You can track significant changes in cinema and culture over the last fifty years through the Rocky films. Each one feels like a snapshot of American life at its time. We can’t recommend most of the films as examples of great film art, but the last three, Rocky Balboa, Creed and Creed II, stand above the first five, the Creeds especially feeling like a breath of fresh air with the directorial talent on display. But it’s a fascinating series to work through, earnest and open-hearted throughout, and immensely likeable.

The podcast can be listened to in the player above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 278 – Rocky – Part I: Rocky

February 27, 2021Eavesdropping at the Movies, podcastboxing, Burgess Meredith, Burt Young, Carl Weathers, Creed, ethnicity, John G. Avildsen, race, Rocky, Sylvester Stallone, Talia ShireNotesonFilm1

In this first of our two-part discussion of the Rocky films, we look at the film that began the series almost 50 years ago. There’s a lot about 1976’s Rocky that… isn’t that good. John G. Avildsen’s direction is drab, the story basic, the themes rudimentary – but with that comes a roughness and a sincerity to the whole affair that might be just what makes it work after all. Sylvester Stallone’s Rocky is a physical brute, softened by his unusual – and unusually pretty – features, his inability to avoid trying to befriend any animal that crosses his path, his demeanour that’s at once confident and shy, and his intellectual simplicity. José argues that the boxing is a diversion, a Trojan horse within which to sneak Rocky and Adrian’s love story. And we think about the character of Apollo Creed, his use as a substitute for Muhammad Ali, and why he couldn’t have been white.

Rocky was a phenomenon upon its release, an immediate cultural touchstone that contains images and scenes so iconic that, five decades on, we continue to attach the same emotions to them and draw the same pleasure from recalling them. Well, we say “we”, but, as is typical, Mike has never seen it before. So while José revisits, Mike joins the party for the first time, and we discuss the quality, significance and impact of this iconic film.

The podcast can be listened to in the player above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

The Godfather, Part III (Francis Ford Coppola, USA, 1990)

June 27, 2013GangsterAl Pacino, Andy Garcia, Diane Keaton., José Arroyo, Ralf Vallone, Rocky, Talia Shire, The Godfather Part III, The Roaring TwentiesNotesonFilm1

Sofia Coppola has a lovely ripe presence here but she’s too shy and not very good. Adolescence is an awkward time but awkwardness is the one thing she manages to convey — she makes for uncomfortable viewing and thus quite a bit of the film suffers by her presence. Talia Shire to me is as much a face of the 70s, as representative of that era, as bigger stars (The Godfather Films and the Rocky films ensure that). I love the way she grows into a Lucretia Borgia figure in this. I also love the relish Raf Vallone brings to his Machievellian churchman. Andy Garcia , whom I love to look at, is not good enough really (he suffers in comparison to James Caan. James Caan! That’s how insubstantial he is here). Yet, the film is somehow magnificent in spite of its relative inadequacies. It’s only not good in comparison to masterpieces; in comparison to what I saw in the cinema this week, it’s a masterpiece: it looks beautiful, has novelistic texture, it’s about character, has a view of life and a view of society that it articulates with grandeur. I love the helicopter shootout that wipes out a whole gang of mafiosi, and the opera scene at the end (clearly echoing the Baptism scene in the first film though not as good). Keaton has a lovely look in the film, teary, chic but somehow gemutleich and klutzy-chic. Is the steps scene inspired Cagney’s death in The Roaring Twenties? I think that here Keaton outshines Pacino but to me it’s really Talia Shire’s movie, and Coppola’s and that of the gorgeous design that is characteristic of all the Godfather films. The montage of the three films at the end, an unnecessary, elegiac and sentimental coda, seems somehow unworthy of the trilogy.

José Arroyo