As an Italian-American screenwriter originally from Philadelphia, the Rocky films and Sylvester Stallone’s career have always been a source of inspiration for me. Most often discussed as an actor, then secondly as a director, Stallone’s success and skill as a screenwriter are too often overlooked. In addition to various other films, Stallone wrote every film in the Rocky series and co-wrote the spin-off Creed II. His original script for the first film, 1976’s Rocky, and the history surrounding it is one of the great Hollywood success stories — a true Cinderella story not unlike the film itself — and in my opinion it still stands as one of the best written screenplays of the 20th century. The movie’s all there on the written page.

When Stallone wrote and directed Rocky II (1979) and Rocky III (1982), he made it a point to retain all the elements that worked in the first film. From the evocative Bill Conti music to a strong supporting cast of characters (Adrian, Paulie, Mickey and Apollo) to a deft balance of humor, grit and pathos. The emotional struggle of the characters is just as important, if not more important, than the film's climactic boxing matches. Stallone’s dialogue is especially unsung; containing much wit, humanity, and straight-up Philly flavor. Rocky IV (1985) proved to be the most financially successful of the franchise, but it sticks out as an anomaly in an otherwise consistent series. Not only is Conti’s timeless orchestration replaced by Vince DiCola’s ultra-1980s synthesizers, half the film is practically a montage. Gone are the quiet character moments; gone are the in-depth and revealing conversations; these previously very human characters become archetypes. There was a slight push in this direction with Rocky III, but Rocky IV totally surrenders to the '80s and comic book-style entertainment. The film also exhibits a gung-ho patriotism that’s not present in the other films. Rocky is typically fighting for himself; in this film he seems to be fighting for the United States of America (as well as for his fallen friend Apollo). And then there’s the robot. Paulie got a robot for his birthday. It doesn’t get more '80s than that. Obviously this worked for many people and it’s still to this day a very beloved film: a nostalgic snapshot of the MTV era for people who grew up then and maybe still pump iron to its soundtrack (in its own way, just as iconic as Conti’s original Rocky score). 

Although I always enjoyed Rocky IV — for its sheer style, bombast, and entertainment factor — it was my least favorite of the series. Not so much because it was the most dated film (its ultra-'80s aesthetic is part of its charm in my opinion), but because it’s far more of a director’s film than a screenwriter’s film. The character development and dialogue take a backseat to countless montages and cinematic spectacle. As a screenwriter who’s a fan of Stallone’s writing, this never particularly sat well with me.

Evidently, Stallone felt the same way.

The ultimate lockdown project, Stallone spent the last couple years retooling and re-editing Rocky IV. Not much was known other than the robot was definitely getting scrapped. This set off a few alarm bells for fans: was Stallone going to totally strip the film of its distinctive '80s aesthetic? Would there be no more Miami Vice-style montage as Rocky cruises around and reflects to Robert Tepper’s “No Easy Way Out”? Would we hear Conti orchestration as Rocky trains in Russia as opposed to DiCola synths? As much as I love Conti’s music, I am a fan of the Rocky IV soundtrack and despite my issues with the film, I think it was made in the '80s and art should reflect the time it was made in. Rocky IV isn’t a gritty '70s film. It’s a stylish '80s film, and in my opinion — as well as that of many of its fans — it should remain so. I simply wanted it to be a better '80s film.

And Stallone delivered in just this regard.

Finally released last month, Rocky IV: Rocky Vs. Drago: The Ultimate Director's Cut became available on Prime Video and other digital platforms. In my opinion, Stallone has struck the perfect balance between improvement and revisionism. Conti music has been worked into some of the more dramatic, dialogue-driven scenes, but the DiCola music remains for some of the more iconic cinematic moments. The montages remain, but now they’re spaced out and feel less like a narrative crutch. This cut of the film boasts 38 minutes of unseen footage ranging from full scenes that were cut, to alternate angles and shots throughout the film. Oftentimes a director’s cut is as good as the amount of usable material available. This cut benefits from a fair amount of deleted scenes and alternate takes Stallone had at his disposal. However, even with all these new scenes added and only a small number of scenes cut (most notably the infamous robot subplot), this version is only two minutes longer than the original. Most impressively, Stallone managed to work in all of these extra character and dialogue-driven scenes without missing a beat. Running at 93 minutes, Rocky IV is still a lean and mean beast. And yet it breathes much more. The pacing feels more aligned with the other films in the series and it is not nearly as rushed and comic bookish as the 1985 version. There are more scenes with Adrian, Apollo and his trainer, Tony “Duke” Evers. The motivations of the characters are more complex and human. Even Ivan Drago comes across as more human in this version thanks to alternate shots and fleeting moments of anxiety and stress conveyed in Dolph Lundgren’s performance.

The more simplistic mixture of revenge and patriotism that was applied in Rocky’s thematic arc beforehand is one of the most profound and rewarding overhauls. In this cut, Rocky is honoring a friend more than avenging him and ultimately, he’s fighting for himself (in keeping with the other Rocky films). Most profoundly, two extra lines of dialogue from Rocky during his big speech at the end makes it more personal than political. “My best friend said people don’t change. He died,” he emotes to the Russian spectators he has won over while fighting and defeating Drago. By stating this before declaring, “I can change, you can change, everyone can change,” he embellishes the moment with character growth that was previously lacking. Rocky honored his friend and defeated a seemingly unbeatable foe, but now he can move on and live his life happily. He won’t be making the same mistakes as his tragically flawed friend. Even Stallone’s choice to play Survivor’s “Eye of the Tiger” at the end of the film rather than reprising John Cafferty’s “Hearts on Fire” is a stronger choice from an emotional and thematic perspective. Apollo was the man who helped Rocky reclaim himself and the “eye of the tiger” in Rocky III. By saving the song for the film’s climax, we’re reminded of the friendship between these two men and how Rocky is a character who is constantly reclaiming himself while evolving. Much like this director’s cut itself, Rocky manages to change while retaining what is essential to his spirit. This not only better sets up the subsequent films, it’s a generally more satisfying arc.

Rocky IV: Rocky Vs. Drago: The Ultimate Director's Cut is the rare case of a classic film’s later reworking in which a perfect equilibrium is struck. Rocky IV remains Rocky IV, but it has grown and is a richer and fuller film as a result. While retaining its distinctive '80s flair, this cut works far better with the other films in the series and doesn’t sacrifice character and story for spectacle.

Stallone the screenwriter eventually won the battle.

Photo: MGM/UA