Sly
Action icon gets entertaining retrospective doc.
Film Yap is a reader-supported publication. To receive new posts and support my work please consider becoming a free or paid subscriber.
As a kid I was always more of an Arnold Schwarzenegger guy than a Sylvester Stallone guy. (I think the sci-fi-tinged nature of a lot of Schwarzenegger’s flicks frequently tipped the scales in his favor.) As an adult I’ve grown to have a greater appreciation of Stallone (maybe even preferring him to The Austrian Oak) and the way in which he steered his career by often writing and directing his own material … something Schwarzenegger’s never done.
“Sly” (now streaming on Netflix) is a documentary from frequent Bruce Springsteen collaborator Thom Zimny, which chronicles the life and career of The Italian Stallion. We hear about the chaotic way in which Stallone and his brother Frank were raised, Stallone’s often contentious relationship with his late father (also named Frank), the lean years Stallone endured prior to reaching superstardom with “Rocky” and the way in which Stallone has interacted with his own wife and children.
There are a couple of framing devices on which the doc’s narrative is hung. We see Stallone preparing for a move from California to Florida and examining the memorabilia that’s marked his long and storied career. His professional life is also broken up by the franchises that have most impacted his filmography – these being “Rocky,” “Rambo” and “The Expendables.”
Most of the commentary comes from the man himself, but Zimny also interviews many of Stallone’s family members (brother Frank, wife Jennifer Flavin), friends/colleagues (director John Herzfeld, Henry Winkler (I knew these two appeared in “The Lords of Flatbush” together, but never realized they were so close), Talia Shire, Schwarzenegger), critics (Wesley Morris of The New York Times) and admirers (Quentin Tarantino).
Stallone’s an entertaining storyteller and often peppers his tales with a surprising number of swears. The passing of Stallone’s son Sage is addressed, but part of me wished Stallone and Zimny had delved into it more deeply. (I can certainly understand why they didn’t however as I’m sure it’s profoundly painful).
Zimny’s “Sly” is many things at once – self-aggrandizing tribute (Stallone’s never lacked for ego despite also being self-deprecating), motivational screed (This shit’s seriously inspirational. Stallone’s scraped and clawed his way to success. His writing process also makes a whole helluva lot of sense.) and stylish profile (Zimny and his collaborators are almost painterly – reflecting Stallone’s reverence for the medium – in the way in which they edited, scored and shot the doc).
“Sly” is likely to please fans of Stallone … it certainly entertained this one.