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You can skip movies 10 times but never go back.
Nineteen-year-old Tony Manero lives for Saturday nights at the local disco, where he's king of the dance floor. But outside of the club, things don't look so rosy. At home, he fights constantly with his father and has to compete with his family's starry-eyed view of his older brother, a priest. Then, he meets Stephanie at the disco and they agree to dance together in a competition. Stephanie resists Tony's attempts to romance her, as she aspires to greater things; she is moving across the river to Manhattan. Gradually, Tony also becomes disillusioned with the life he is leading and he and Stephanie decide to help one another to start afresh
Capturing both an iconic cultural moment and youth's swagger and repugnance, John Badham's "Saturday Night Fever" is a sweat-beaded, polyester-clad drama about the search for identity. While today the film may be most recognizable for its in-the-moment depiction of New York's disco scene, the film can go toe-to-toe with most memorable film dealing with youth culture. The film has its flaws, but it is an infectious and energetically crafted confection.
Taking place in a moment when disco beats ruled the airwaves, the drama follows John Travolta's Tony Manero, a 19-year-old Brooklynite with few designs on a future other than one that includes dancing the night away. The film is less plot-driven than it is a pop-accessible character study of a…
There are movies that manage to capture the times they are portraying perfectly. Saturday Night Fever is so seventies you can almost smell the Hai Karate and Brut oozing from the pores of John Travolta's Tony Manero, the undisputed king of disco dancing in his native Brooklyn. That however is where the fairy-tales of the local kid from the neighborhood branching out as a star end. This isn't Glee, there are no happy endings here among the flick-knives and the tortured Catholic upbringing of our Italian/American brothers. Travolta and his brooding good looks and snake-like hips do catch the eye on the dance-floor, but this is about so much more than just that. Yes there are some incredible dance sequences…
Never realized before how essentially plotless this is—ostensibly, it's building to the big dance contest, but nobody really seems to care all that much who wins (as reflected in the outcome), and the Tony-Stephanie duet was always destined to be anticlimactic after "You Should Be Dancing." I wrote a Scenic Routes column on the latter scene a while back, and those thoughts ably reflect my feelings about the movie as a whole, in terms of both its electrifying formal aspects (Badham's navigation of the 2001 Odyssey is virtuosic; what happened to that guy?) and the way it integrates darker material with the escapism. Also surprisingly deft with subtext—you'd have to be fairly dense not to grasp the metaphorical significance when Tony rattles off multiple statistics about the Verrazano-Narrows Bridge, but it still works beautifully as a character moment, doesn't clonk you on the head with Meaning. Nicely done.
it's a little troublesome that there doesn't seem to be any honor here in a working-class life, presented as an almost entirely hopeless dead end, something to be escaped at all costs. but if the men in this community feel like they've got limited options, the movie goes out of its way to alert you to the trap women (and minorities) are facing. the guys shirk responsibility with alarming regularity: leaving the priesthood, quitting a job or being unemployed, you can get out of that stuff as long as you don't get "tied down" by an unplanned pregnancy. but for the women "either you're a nice girl, or you're a cunt". pretty quietly crushing, especially a late, momentary contrast between disco nightclub lights and those on a squad car.
John Travolta lives in Clearwater like me so if I ever see him around I'm gonna ask him what the fuck this shit was
Review In A Nutshell:
Saturday Night Fever follows the story of a young man from Brooklyn, Tony Manero, who has a passion for dancing and frequently hangs out with his friends. He then signs himself up in a dancing competition hosted in his favorite club, 2001 Odyssey, with a talented woman who loves dancing as much as he does.
A few years ago, when I was around 15-16 years old, I was into the trends that were found during the time, and one of those included dancing. Most of my life during that time was preoccupied by these trends as I truly wanted to be perfect at it, and show my "skills" off with any chance I get. Though I…
Despite the delights of the Bee Gees, this film was a crock of shit. Piss poor blocking, acting and writing.
"I'd like to be friends with you"
It's been quite some time since I last reviewed anything or honestly got to even see a new movie because I've been so busy with school. I'm gonna try to get some movies watched and reviewed though.
This movie surprised me. I wasn't expecting the emotional impact of it. It definitely hit a few spots. I was expecting a light hearted, dancing movie and it really touched down on huge struggles of youth. It also really displayed the time period amazingly. John Travolta was very good and I'm very pleased with this one.
Poor Annette. This movie is way more fucked than I imagined it being.
The difference between knowing you'll like a film, and actually falling in love with a film? Yeah, I fell for this one.
Just the way that the filmmakers refuse to sugarcoat their characters' xenophobia, or their misogyny, or their testosterone-fueled antics and dilemmas--these qualities paint a vivid picture of characters on the verge of major life changes. It's so exciting to be in the company of characters whose creators know exactly who they are, and can make their idiosyncrasies seem dynamic.
First watch for me and I expected this to be a typical boring dance film, but it was not only that. Despite the plot seems to go nowhere and none of the characters are likeable, it's an enjoyable film.
Not gunna lie, I expected a lighter watch...
Grittier than you might think just from the much parodied, iconic elements, but also a bit silly as well. It feels kind of like a more narrowly focused American Graffiti, in terms of being a portrait of an era and culture that simply don't exist anymore. Or, rather, that have shifted to different groups now occupying roughly the same social strata as this one's (mostly) Italian-American set (thinking of something like the Step Up films). There's still some power in the dancing, even after all the references over the years, but I found some of the rest of it frustrating—everything on Chekov's Bridge, for instance—and also loathed its sexual politics even as I suspect they're accurate to the era.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…