Ah, the Big Apple at two years old for me. And some brilliant lensing by Joseph Ruttenberg (the street light in the last shot is stunningly integrated) The Manhattan bridge at the forefront of the skyscraper silhouettes tries to dispel the notion that this is the city that never sleeps, and the tunnel is a well-known location. Really captures the underbelly of the city.
Sam the penultimate shot is from the opening scene which nicely frames the story. The man in the lighted window is Rocky’s father and the shot prefigures the next scene inside the tenement where the father is sparring with the son. Again a nice placement that echoes the naked city framing…
FilmsNoir.Net 
Ah, the Big Apple at two years old for me. And some brilliant lensing by Joseph Ruttenberg (the street light in the last shot is stunningly integrated) The Manhattan bridge at the forefront of the skyscraper silhouettes tries to dispel the notion that this is the city that never sleeps, and the tunnel is a well-known location. Really captures the underbelly of the city.
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Sam the penultimate shot is from the opening scene which nicely frames the story. The man in the lighted window is Rocky’s father and the shot prefigures the next scene inside the tenement where the father is sparring with the son. Again a nice placement that echoes the naked city framing…
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