Movie Review: 'Rocky'

by William Anderson

25 January 2004

"If that bell rings and I'm still standing, I'll know for the first time in my life that I'm not just another bum from the neighborhood."

It seems the system never tires of humiliating the White man. From replacing White computer programmers with dinks and doogas and forcing the Whites to train their usurpers, to the endless parade of black-on-blonde matchups the jews throw in our faces, there is no pile of dog shit the jews and muds won't push Whitey's nose in. And, for the most part, White men put up with it. They play the jews' games, implementing this or that diversity initiative in the office, letting their daughter date the local nigger football "hero," nodding on Sunday morning when their shill preacher tells them how much "poor little Israel" needs their help, and are content just to put their feet up in their own house at the end of the day. But not all Whites are like that. Some have their own dreams, and when a strong-willed White man comes up against Big Jew, you can bet that the sparks are going to fly.

"Rocky" hit movie screens across the country in 1976, and became an instant phenomenon. The tale of a hard-luck boxer who gets a shot at the heavyweight title managed to earn ten Oscar nominations, including Best Actor (Sylvester Stallone), Best Picture, Best Actress (Talia Shire), Best Supporting Actor (for both Burt Young and Burgess Meredith) and Best Original Screenplay (Stallone). Shot in 28 days with a budget of just $1 million, "Rocky" grossed more than $100 million at the box office and became one of the biggest financial successes in film history.

The Italian Stallion

Rocky Balboa (Stallone) is an Italian-American boxing bottom feeder, a self-described "ham and egger," who will fight anybody for pennies. His only ambition is survival, and he lives in a one-room apartment in a Philadelphia slum with two turtles. Mickey (Meredith), the prickly manager of the gym where "Rocky" trains, is disgusted with "Rocky" because he had the heart and skills to become a champion, but instead went to work for a local loan shark. When "Rocky" isn't fighting or collecting, he's trying to win the heart of Adrian (Shire), a shy pet-store employee, without much success. His life is going nowhere, and he knows it. All this changes when Apollo Creed (Carl Weathers), the black world heavyweight champion, enters the scene. Creed had been scheduled to fight a top contender for the Jan. 1, 1976, Bicentennial Match, but his opponent backed out after an injury. So, what's a brutha to do?

The Proposition

Creed, his inarticulate lawyer (just listen to this coon mush-mouth "contractual obligations") and jew promoter Miles Jergens (jew Thayer David), meet in a back room to plot their next move, and it doesn't take them long to come up with the idea of a "novelty" fight to make the ZOG bucks roll in. They reach for the trusty old kosher playbook for making some quick cash: Humiliate a White man. The jew never minds combining work with pleasure. The big plan is to take a "snow White underdog" and let the heavyweight champion beat the shit out of him on national television. "I'll drop him in three (rounds)," Creed gloats. They choose Rocky Balboa as Creed's opponent, simply because Creed likes Rocky's nickname, the Italian Stallion.

"It's very American," exults the jew Jergens. Sure, what could be more "American" than a rigged game a White man can't possibly win? I wonder how many Americans have caught onto this: the factory worker whose job is being shipped to China, but still flies the flag on his beat-up Ford; the tobacco farmer buried in a mountain of debt to some jewish bank. Oh yes, screwing the White working man is an American tradition all right, just ask any jew or White millionaire.

Rocky is a simple man, but he believes utterly in the American Dream. You can see it in his eyes when huckster jew Jergens pitches him the idea of the match. Rocky agrees to fight Creed, and begins training to do it.

"Rocky" is a movie chock-full of Americana. From the historic bicentennial anniversary to the city in which it takes place, Philadelphia, "Rocky" is a movie about America. But it's much more than an updated Horatio Alger "rags to riches" tale. At a fundamental and, I'm sure, unintentional level, "Rocky" asks a question of our national character: What is an American? Is it scheming jews and jive-talking jigs, or is it a poor Italian-American locked out of the American Dream? Rocky believes that America is the land of opportunity. He is a genuine patriot. To Creed and Jergens, however, "America" is just something they use to make a buck. Here is the clash at the heart of "Rocky."

It's been said before that when the jews take power they leave the symbols of the conquered nation intact, but they work behind the scenes to completely distort and judaize the meaning of those symbols. Thus, the American flag that flew over a nation based on blood and soil now flies, unchanged, over a "proposition nation" and a "nation of immigrants." Nobody has become alarmed, as they would if the jew had changed the flag's design along with the ideas for which it now stands. "The flag still stands for freedom, and they can't take that away," as Lee Greenwood sang. Except they can, and they did; they just left us our national props and illusions.

In this corner: Amerikwa...

"Rocky" illustrates perfectly just how shut out of American life the White man really is. His country, his culture and his history have been hijacked and appropriated by alien races. In no other scene is this hammered home with more force than when nigger Apollo Creed enters the Philadelphia Spectrum dressed as George Washington (dat ole White debbil), reenacting Washington's crossing of the Delaware River, complete with a boat and throwing out money like a pimp in a strip club. Creed leaps about the ring like a buffoon, bellowing "I want you," just like Uncle Sam(bo). The world has truly turned upside down when an African, whom no founding father wanted voting, much less holding office, can appear dressed as the father of our country and raise nary an eyebrow. Such is the world the jew has created. Rocky Balboa doesn't have to dress up as anything. He is the real deal, and he knows it. Even Creed says, "An Italian discovered America, right?" The battle between America and Amerikwa couldn't be clearer.

Main Event

"Rocky" isn't impressed by this simian display, and prepares to get down to business as the bell rings. Creed taunts and toys with Rocky, treating the fight as a big joke, but learns quickly that "Rocky" came to kick ass, not play the sucker in a nigger-rigged game. A powerful punch knocks Creed on his bulbous buttocks in the first round, the first time the champion has ever gone down. Stunned, Creed gets up quickly and prepares to fight a real match. After this, it's a grueling battle until the end. Rocky takes a lot of punches, but he gets in some good licks, too, and Creed can't seem to break the Italian Stallion, the gutter fighter with the lackluster record.

At some point the question has to be asked: Just how good is Apollo Creed? He's ranked as the heavyweight champion of the world and Rocky believes Creed to be the best, but the sport of boxing is so corrupt and unregulated as to render the title almost meaningless. A boxer's opponents are frequently handpicked from the ranks of the inept and non-dangerous, and, with the right selections, it's possible for a top-ranked fighter's handlers to make his time as champ pretty comfortable. Creed could very well be a media creation, as his cozy relation with the jew Jergens would seem to suggest. We certainly get more than a whiff of this when Creed and Jergens cook up the idea behind the Bicentennial fight. But instead of an easy victory, Creed gets the fight of his life when he climbs into the ring with Rocky. After Creed goes down in the first, his trainer exclaims, shocked, "He (Rocky) doesn't know it's a damn show, he thinks it's a damn fight." And the wheels nearly come off the whole crooked deal. Interestingly, "Rocky" fights Creed the way every White boxer used to fight niggers: He attacks the body. This is clearly Mickey's teaching. It works, too. By the final rounds the punishment Creed has taken is really starting to wear on him. "Don't let that bastard breathe," Mickey exhorts.

Before the fight, Rocky had told Adrian that he knew he was not even in Creed's league, and his entire ambition was to last the full 15 rounds, to "go the distance." No other fighter had ever gone the distance with Creed, and if "Rocky" could go that distance he could prove he was not just "another bum from the neighborhood."

The Final Round

Creed is clearly the favorite at the start of the fight, as the White lemmings cheer for "their" champion, but a funny thing happens as the battle continues into the later rounds and the White boy from Philly is still standing. More and more people start rooting for Rocky until, at the end, that now-famous chant of "Rocky, Rocky" is shaking the rafters. It's by no means a racial awakening, but it remains true today that White fans will cheer White athletes, especially in boxing. The jews know this, which is why every year they create more celebrity athletes "of color" like Apollo Creed for White kids to idolize. Jews don't care only about money. If they did they'd let the White athlete be unleashed, knowing how excited White fans would flock to athletic events and spend millions on sports merchandise.

When the final bell tolls, and both boxers are still on their feet the decision goes to the judges who, not surprisingly, give the win to Apollo Creed. The system was not about to make some white trash nobody the next heavyweight champion. But Rocky doesn't care. He has gone the distance, and his only thought is to have Adrian there to share the moment with him. Give "Rocky" a look. You won't regret it.


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