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Americans love the underdog. Anytime someone is beating the odds, fighting his or her way to the top, like the Little Engine That Could, it resonates well with U.S. audiences; it's in their nature. Sylvester Stallone knew that in 1976, when Rocky was a monstrous hit and established itself in the American cultural lexicon. His low-budget tale of a young boxer who came from the slums of Philadelphia and worked his way to the championship recalls Capra characters such as Mr. Smith or John Doe as he worked his way to fame and self-respect. Like Capra's films from 30 years before, Rocky pushed emotional buttons with audiences, but in a somewhat less maudlin, obvious way; it's possible to enjoy Rocky without feeling embarrassed about it, even in the cynical, postiron