Discuss:
‘The stars are reflection in which the public studies and adjusts its own image of itself… The social history of a nation can be written in terms of its film stars.’(Raymond Durgnat. Films & Feelings)
Introduction
Stars are one of the phenomenons created in Hollywood. From the beginning of Silent Era stars were one of the main products in film industry. They were used as capital and investment. Stars were manipulated by directors. In those days star image and star persona were artificially created. They became public idols. Female stars were accepted as ideals of beauty and success, male stars were ideals of bravery and masculinity.
This paper will discuss star persona as an ideal of masculinity in example of Sylvester Stallone. Sylvester Stallone is one of the famous Hollywood actors and his star image will be analysed in following points:
1. Characters which defined Stallone’s star image.
2. Image of masculinity as a product
3. Star who represented national history, pride and patriotism
4. Stallone’s attempts to change his star image
Main body
1. Characters which defined Stallone’s star image
Sylvester Stallone is one of the famous Hollywood stars, actor, director, producer and screenwriter. He was born in 1946 in New-York. He is well-known for his nickname ‘Sly’. At the beginning of his career Sylvester Stallone played minor roles in such films as Bananas (1971), Klute (1971) and The prisoner of Second avenue (1975). His first starring role was in The Lord of Flatbush (1974) (Base, 1990).
After Rocky (1976) release Sylvester Stallone achieved international fame as a star and writer. In this film he played character of middle-class boxer Rocky Balboa (Sylvester Stallone) who became famous boxer after winning Apollo Creed (Carl Weathers). Film reveals inner world of boxer and culminates in a fight between Apollo Creed and Rocky Balboa. Rocky (1976) won Academy Awards in 3 nominations: Best Picture, Best Director and Best film Editing (Base. 1990). It is worth to note that original script of Rocky (1976) was written by Sylvester Stallone himself. He began writing that script in 1975 (Leab, 1979). In one of his interviews he conceded that he was inspired by viewing the fight between Mohammed Ali and Chuck Wepner and script was written in three days. It consisted of 122 pages. After the revision of producer Gene Kirkwood it went to more that 340 pages (Ibid). In article named The blue collar ethnic in bicentennial America Daniel J. Leab (1979) wrote that Hollywood producers offered Stallone $100, 000 to sell the script. He refused even though he had just $ 106 in his bank account and pregnant wife. As Daniel J. Leab (1979) states Stallone said to his wife ‘if you don’t mind going out in the backyards and eating grass, I’d rather burn this script that sell it to another actor’. In 2006 original script for Rocky (1976) was selected by the Writers Guild of America as the 78th best screenplay of all the time (http://www.wga.org). Later Rocky (1976) was followed by sequels Rocky II (1979), Rocky III (1982), Rocky IV (1985), Rocky V (1990) and Rocky VI is expected to be released in December 2006 (Internet Movie Database. http://us.imdb.com). In one of his interviews Sylvester Stallone admitted that no matter what happened after, he would be always known to his audience as Rocky Balboa (Base.1990).
His star image became well known by next character after release of First Blood (1982). The movie was based on David Morell’s novel of the same name (Internet Movie Database.http://us.imdb.com). Directed by Mario Kassar this film tells a story of Vietnam veteran John Rambo (Sylvester Stallone) who had real difficulties to adjust to civilian life. This film became one of the most popular films of its era. Douglass Kellner (2001) wrote that First Blood (1981) in day of release was shown in 2074 theatres in USA and in first six days it reached gross of $32 548 262 thus making third-largest opening gross in movie history. This film offered new types of action movies later named as Rambo movies. It became as a quality criteria for action movies. First Blood (1982) was followed by Rambo: First Blood II (1985), Rambo III (1988) and release of Rambo IV: In the Serpent’s eye is expected in May 2007 (Internet Movie Database. http://us.imdb.com). In one of his interviews Sylvester Stallone said: ‘I came into this business as an underdog and that’s what works best’ (Tasker. 1996). Rocky and Rambo solidified Stallone’s star image. Once he conceded: ‘I don’t know sometimes whether to put on boxing gloves or carry a machine gun’ (Base.1990.)
2. Image of masculinity as a product
One of the common features of Sylvester Stallone’s star image in Rocky (1976) and First Blood (1982) is idea of masculinity represented by his characters. Rocky and Rambo are good examples of representation of masculinity in Hollywood films. Analysing Stallone’s star image as an ideal of masculinity we can get clear understanding of stars as a phenomenon of production.
Referring to an idea of masculinity in First Blood (1982) Gaylyn Studler and David Desser (n.d) stated that in First Blood (1982) and in its sequels Stallone’s body had significant meaning. It worked as a tool against powerlessness injected in society by technology, minority rights and feminism. This particular feature of Rambo is the main reason why this movie became popular not only in USA but also overseas. It is difficult to disagree with this opinion. Because it is obvious that in Rambo (1982) and in all its sequels Stallone’s body works as an incarnation of strength, power and fury. His muscles were symbol of self discipline, strength and heroism (Ibid). Yvonne Tasker (1996) argues:
‘The figure of Rambo has often been taken to represent the (re-)emergence of threateningly physical understanding of masculinity. Rambo is, within this view, seen as symptomatic of a 1980s backlash against feminism’
In Rambo (1982) and in its sequels the idea of masculinity is reinforced by camera angles and lighting. Douglass Kellner (2001) wrote that the frequent lower camera angles represented Rambo as a mythic hero, and close-ups exaggerated his image as larger than life. As he states there are other elements which highlighted the idea of masculinity as Rambo’s bow, exploding arrows and knife (Ibid). It would be quite difficult to reproduce Rambo or Rocky without casting Sylvester Stallone because his star image as an ideal of masculinity stack at these characters. He is the one of the few actors in Hollywood action film industry who made millions by his body. He is self produced star and good example of a star as a phenomenon of production. It is worth to note that Rocky (1976) got box office gross of $117.3 million (Internet Movie Database.http://us.imdb.com). More than 600 000 Rambo (1982) posters have been sold. A novel based on the film sold over 800 000 copies. T-shirts from Rambo: First Blood II (1985) have topped the 1.5 million mark (Kellner. 2001) Finally the gross worldwide takings of Rambo III (1988) were $189 015 611 (Internet Movie Database.http://us.imdb.com)
3. Star who represented national history, pride and patriotism
Rocky and Rambo sequels were very popular in 1970-1990. There are several reasons for it. We should consider that Rocky (1976) and its sequels are not just a simple film about working-class boxer, and Rambo trilogy is not just a film about super warrior. Analysing the discourses promoted in these films we can look at Sylvester Stallone’s image not only as a star but also as a writer.
In Rocky (1976) and in its sequels Sylvester Stallone promotes an idea of individualism thus shows the way to become somebody from nobody. Yvonne Tasker (1996) wrote:
‘The themes of rags to riches, achievement through struggle within a white immigrant community, determination to succeed against all odds and the figure of the underdog, elements at the heart of Rocky, became central aspects of Stallone’s star image’.
Scenes of individualism and achieving your goals yourself are main ideas of this film. In one of his interviews Stallone said: ‘That’s what Rocky is all about: pride, reputation, and not being another bum in the neighbourhood’ (Internet Movie Database. http://us.imdb.com/). Daniel J. Leab (1979) referring to newspaper reviews wrote that Rocky (1976) were very much like 1930s movies of director Frank Capra in terms of individualism and optimism promoted in it. After watching Rocky (1976) even Capra said: ‘Boy, that’s a picture I wish I had made’ (Ibid).
Writing such phrases as ‘Do you believe that America is the land of opportunity?’ Sylvester Stallone tries to offer an idea of Americanism. Michael Ryan (1990) wrote:
‘The film suggests the strong link between middle-class ownership and the ideology of the self. Property is a confirmation of the individual self inasmuch as goods are gotten through one’s own effort, one’s own faith in oneself’.
Daniel J. Leab (1979) stated:
‘it [Rocky] sets forth that a bum can become a real contender overnight, that riches can come from nowhere, that hard work and the will to make good can still succeed in the United States’
In one of his interviews Sylvester Stallone admitted: ‘People accept Rocky Balboa as authentic. I can not tell you how many people have come up to me and asked about my boxing career. It is like they really want to believe that Rocky exists’ (Internet Movie Database.http://us.imdb.com). These words can prove how Rocky (1976) was popular.
Sylvester Stallone promotes this idea also in Rambo series. Individualism is reinforced and supported with idea of nationalism, superiority and patriotism. Once Sylvester Stallone conceded: ‘I hope to establish a character that can represent a certain section of the American consciousness and through the entertainment also be educational’ (Momentum Pictures.2002. DVD). Then comparing Rambo and Rocky he stated:
‘Rocky provides the insight into a fighter, but he was more than a fighter. He was a working-class man who became a working-class hero, a symbol and tried to find his simplicity again while Rambo is a man who started out as a very patriotic guy who is eventually scorned by his country… And what I’m trying to accomplish in this film is that these men have nothing to feel guilty for. Rambo is the spokesman for the man whose voice right now is not loud enough’ (Ibid).
Gaylyn Studlar and David Desser (n.d.) suggests that Rambo: First Blood II (1985) series were not only the one of the Vietnam movies but also was ‘culturally ubiquitous becoming part of political discourse’. This film was released in Reagan era and many critics commented that film had ‘reaganism’ discourse. In June 1985 Reuters released an issue commenting Reagan’s words: ‘Boy, after seeing Rambo last night I know what to do’ (Kellner. 2001). Many reviews criticized film for attempts to rewrite Vietnam history. The image of Sylvester Stallone was discussed in pro and con by publicity. Gaylyn Studlar and David Desser (n.d.) states that Rambo tries to solve a contradiction between image of veterans as powerless victims and super warrior by reviving myths of ‘regeneration through violence’. They compare Rambo with Bruce Springsteen’s ‘Born in the USA’ and suggested that Rambo: First Blood II (1985) is a film which combined many discourses particularly celebration of Americanism (Ibid). Yvonne Tasker (1996) argues writing:
‘Nationhood and masculinity are crucial terms within most war films. Yet cinematic discourses of American manhood are profoundly ambiguous certainly in the three Rambo films. Rambo…has been criticized for their rewriting of history. Such critical concerns represent an important desire to see historical justice done’.
Discussing rewriting Vietnam history he states that all-American call of national pride was really represented in Rambo (Ibid). Gregory A. Waller (n.d.) writing about rewriting history in films states that as a flag-draped Rocky Rambo has become a symbol of renewed America. Comparing Rocky and Rambo he continues that giving a promise to win this time Rambo reminds audience about their defeats in Vietnam War.
Americanism, patriotism and idea of individualism are main reasons why Rocky and Rambo sequels were popular in 1970-1990s. First of all these films captured the mood of America in 1970s and 1980s. They tried to represent history and historical justice to be done in American way.
4. Stallone’s attempts to change his star image
It is really interesting to note that in his actor career Sylvester Stallone made several attempts to redefine his star image identified by abovementioned characters. In 1970s he established other types of characters in films like Paradise Alley (1978) and F.I.S.T. (1978) (Internet Movie Database. http://us.imdb.com). Ron Base (1990) suggests that Stallone’s non-Rocky movies were ignored by audience. Those films could not make such success as Rocky (1976) (Ibid). In 1980s Sylvester Stallone performed characters in films like Tango and Cash (1989) and Lock Up (1989). People could not accept Stallone in those characters. Yvonne Tasker (1996) writes:
‘An attempted redefinition of Stallone’s star image in these films is conducted through both the body and the voice. A shift from the physical, the body as the central component of Stallone’s image, is also a move into the verbal and this emphasis, basically the shock value of the fact that the hulk could talk, was echoed and exploited in the surrounding publicity’
In 1990s Sylvester Stallone made some attempts to change his star image again and every attempt could lead to the end of his career. Graham Roberts (2001) argues that stars dislike to be confined to a genre. In example of Sylvester Stallone, we can note that he tried to perform some comedian characters in films like Oscar (1991) (Internet Movie Database.http://us.imdb.com). Graham Roberts (2001) suggests that stars change their star image but frequently it leads to disappointment. He wrote:
‘Sylvester Stallone’s performance in Copland (1997) was creditable but commercial failure of film shows power of the star image. The audience did not wish to overcome its connection with the image of Stallone as an honest action-man and therefore could not accept him as a fat and inadequate cop’
It is quite difficult to imagine Stallone as fat and inadequate guy. Because his star image was defined by two main characters in his career: Rocky and Rambo. Those non-Rocky or non-Rambo characters were successful for Sylvester Stallone but as not successful as Rocky or Rambo. In this situation it is quite difficult to disagree with Graham Roberts.
Conclusion
This essay analysed Sylvester Stallone star persona. It is sufficient to say that Sylvester Stallone is one of the Hollywood stars who produced his star image himself. First part of essay was about Rocky and Rambo, main characters which identified Stallone’s star image. Second part discusses Stallone’s star image as ideal of masculinity. In this part of essay we can find real proofs for star as a phenomenon of production. Third part analysed content of Rocky (1976) and First Blood (1981). We can see that these films promoted ideas of Americanism, patriotism and individualism thus captured the mood of American people in those years. Last part of main body was about Stallone’s attempts to change his star image.
In the end it is relevant to note that today Sylvester Stallone is going to release new sequels of Rocky and Rambo. Recent media reviews, rumours about these films and the increasing interest of publicity can prove how Sylvester Stallone is still popular as ideal of masculinity. It proves that Stallone’s star image is stack on these characters and it is difficult to imagine him as somebody else. It also proves that Sylvester Stallone is a good example of star as a phenomenon of production.
References
Books:
1. Base, R. 1990. The movies of the eighties. London: MACDONALD.
2. Kellner, D. 2001. Media culture. London: Routledge.
3. Leab, D., J. 1979. The blue collar ethnic in bicentennial America: Rocky (1976). In John E. O’Connor, Martin A. Jackson, ed. American History/ American Film. Interpreting the Hollywood image. New-York: Frederick Ungar Publishing Co. 1979.
4. Roberts, G. 2001. Introducing film. London: Arnold.
5. Ryan, M. 1990. Camera Politica. Bloomington: Indiana University Press.
6. Studler, G. and Desser, D. (n.d.). Never having to say you’re sorry: Rambo’s rewriting of the Vietman war. In Linda Ditmar and Gene Michaud, ed. From Hanoi to Hollywood. New Brunswick: Rutgers University Press, 2000.
7. Tasker, Y. 1996. Spectacular bodies. London: Routledge.
8. Tasker, Y. (n.d.). Dumb movies for dumb people. In Steven Cohen and Ina Rae Hark, ed. Screening the male. London: Routledge, 2000
9. Wallner, A.G. (n.d.). Rambo: getting to win this time. In Linda Ditmar and Gene Michaud, ed. From Hanoi to Hollywood. London: Rutgers University, 2000.
Internet sites:
1. Internet Movie Database. 2006. Available from: http//us.imdb.com
2. Writers Guild of America. 2006. 101 best screenplays. Available from: http://www.wga.org/uploadedfiles/news_and_event
DVD
1. Momentum pictures. 2002. Rambo DVD trilogy. First blood part II (DVD). Packaging 2002
2. Momentum pictures. 2002. Rambo DVD trilogy. Rambo III (DVD). Packaging 2002.
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