There are so many reasons why Rocky became such a huge hit in 1976, even if no one but the writer and Starweet Sylvester Stallone could see it from the beginning. Pictures was the only one who believed in the film and more importantly, in itself as the main character. Initially, after he enrolled producers Irvine Winkler and Robert Chartf, and even after United artists agreed to finance the film, Stallone faced intense pressure to abandon the leading role of other more appropriate artists. In fact, he He almost lost the Rocky Balboa part of Burt ReynoldsBut it remained strong, opposing the pressure to step down and essentially turn A-list in the process.

Probably, Rocky wouldn't work without Stallone's main performance - at least, it would be a very different movie. But it wasn't just this starfish that made the sport drama in Hit. Similarly, he was a perceptual man and returned in the mid-1970s, he noticed a trend in Hollywood not sitting with him. As the actor told Barry Norman during the BBC interview in 1977:

"At that time I felt that the cinema, at least the films I watched, were all time low. Everything was anti-society, antichrists, anti-government, anti-everything and there was no one to take root. And I also feel that the movies were very cyclical, so I wanted to get back to the cycle, The good movies were missing.

This was a big part of why Rocky was such a success. Her feeling, regardless of ethos, was a cynical salt, and Stallone proved that she was not only a Starwar, but a perceptual writer and creative. As such, you would not blame your studies of trying to exploit this exciting Creative energy for its own goals, and in 1978, the scrolls were delivered to another sport drama that seemed perfect for his sensibilities. Unfortunately, however, things did not play the same way as they had with Rocky.

Following Rocky, Sylvester Stallone starred in a "test", a 1978 crime drama directed by Norman Jewson in which he played a worker in line with Cleveland, who joined the fictional Union "Federation of Interstate Truckers" (Fist). The film was a modest success and won firm reviews from critics. However, the same year, Stallone made his directorial debut in a movie that was definitely not a success in any sense.

"Paradise Ali" is a sports drama that was written, directed by and starred Stallone. On paper, this seemed to be a logical next step as he did with Rocky, a sporting drama he wrote. This time, the focus is struggling, not boxing, and the film tells the story of three Italian brothers brothers trying to avoid their weak 1940 hell in the kitchen through professional wrestling. Stallone played Cosmo Carboni along with Armand Asante as his brother Lenny and Lee channels as Carboni's third sisters, Victor. After Cosmo persuades Victor to become a professional wrestler, things are starting to change for the brothers, who are considered to be a prize money. That is, as long as Gangster Stitch Mahon (Kevin Conway) decides to get involved, scheduling a fight between Victor and the relentless Frankie Tumper.

Stallone actually wrote the "Paradise Street" as a novel before Saving the Rocky script, which made it for an incredible three days. However, she had chosen his book as a producer and could not make him give up control, which is what he prompted him to write "Rocky" in the first place. But as soon as that film proved to be successful, Stallone was finally able to give the "Paradise Alay" treatment on the big screen. The film made its debut on September 22, 1978, and unlike the Italian stadium debut, it proved to be a significant failure.

The "Paradise Alees" followed a similar narrative with Rocky, with protagonists of lowering, struggling to success, surpassing seemingly insurmountable obstacles in the process, while encouraging the characteristic charming Sylvester Stallone and his Everyman Energy. There are also several professional wrestlers who played accompanying characters. None of that was enough to save the film, though.

Not only did the "Paradise Valley" not only do $ 8 million On a $ 6 million budget, but critics were also ruthless in their film assessment. For example, the "Yorkyor Times", Vincent Kanby, described it as "false, statized, self -satisfied chaos" and "Multimillion -dollar B (for a boring) image with cauliflower, the heart of the hustle and soul of the used car salesman." However, it should be said that Kanby was not a very fan of Rocky. However, he was not the only one who hated the "Paradise Street". Jayei Scott from Toronto's globe and post office similarly wrote: "There is a Chinese mind of a 14-year-old in the glittering body of a great film," While Gary Arnold at the Washington Post, he declared: "Stallone has not been proud."

According to the expert, the negative critical response was actually a reaction to his behavior during the Rocky press tour. "I got a lot of trouble with the first interviews I started after" Rocky "came out," he said. Roger Ebert As early as 1980. "I kept a few lanes of some of them and listened to them the other day. I came with a pretty big opinion of myself, and I said a lot of things that had to be funny, but they weren't.

The actor also claims that studio intervention is a big reason for the failure of the film. In a special Roger Ebert The interview, said that he would never let go of what he let the studio "manipulate" during the editing process. According to him, more scenes were intended to add "Atmosphere and Figure" to the film, but were cut by the order of universal paintings that wanted to "speed up things". Stallone claims that the studio removed 40 scenes together and added 10 of them back to the broadcast version of the film. But of course, critics seemed to be concerned about a lack of "atmosphere". Since then, the "Paradise Alley" has stood as one of Stallone's most incredible steps (and this is the guy he received Cheated in starring in "Stop! Or my mother will shoot").