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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.
WILLIAM ANDERSON
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