All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Saturday Night Fever
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
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…
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…
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…
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.
Before he creeped out The Oscars and worshipped intergalactic overlords, John Travolta owned the dancefloor in this eargasmic disco drama. 10/10 to the amazing soundtrack and 7/10 to the engaging story between each spellbinding boogie session. After a long and energy-draining 11-hour shift, it sure made my saturday night!
Future viewings will determine if the slight reservations I have with this are actually just reservations with the disco aesthetic itself. Either way, this is a pretty masterful, harrowing character study that somehow sneaked its way into the pop culture fabric in a way that few harrowing character studies do (this is like the disco Taxi Driver!). Good movie, wish I'd first watched it years ago.
Absolutely electric energy levels make this routine script come to life. Badham's other films don't seem to contain even a fraction of this one's sense of place or willingness to undermine our ability to identify with its characters. This is a movie of small victories and small defeats, but it still manages to pack a cumulative impact. It must have functioned as a Rebel Without a Cause for teenagers who saw it when it first came out. The ending doesn't quite work, but it's been done with much less skill too many times to complain.
Letter Grade: B
"Would ya just watch the hair. Ya know, I work on my hair a long time and you hit it. He hits my hair."
I hate disco, always have. I don't even like dancing. As a historian though I have always been fascinated with how disco started and what motivated so many people to partake in it besides sex. This film answers a lot of those questions for me without having to waste my time reading about it. Most importantly this one entertained me without going into to much dancing to warrent me turning it off. John Travolta is amazing as Tony, a nineteen year old Brooklyn kid living with his parents who only lives for dancing,…
I have a weakness for Disco.
At the beginning of the movie, John Travolta puts $5 toward a layaway purchase of a shirt he wants and later he tells his boss that he needs an advance so he can buy the shirt. He doesn't get the money but he does eventually get a raise, which means he might be able to afford the shirt at that time. I'm not sure how much the shirt actually costs.
While the rest of the movie is highly entertaining, and Travolta's numerous dance sequences are quite simply amazing, we never find out if he buys the shirt. Or maybe he does buy it and then wears it in the movie but I didn't notice because I wasn't paying close enough…
"You know, I worked on my hair for a long time, and he hit it. He hits my hair."
"You know, I'm really growing. I'm growing as a person."
"Well maybe you should go on a diet."
It was time for a disco classic. I grew up watching Saturday Night Fever and even though it displays less than ideal human behaviour (cursing, rape, drug use, sexism, racism, homophobia and fights - woman aren't spared from words or fists either), I have always been drawn to it. Not necessarily the suits and hairstyles and disco dancing (well, maybe that too, boogie down!), but underneath all the glitz I always recognized it as being about disaffected youth: a kind of urban tragedy…
Tony Manero is kind of an asshole. The disco music is cool for 5 minutes, but personally, it got old way too fast. It's disappointing to me that I cared so little for Gene Siskel's favorite movie, but ¯\_(ツ)_/¯. This movie is actually really dark and profane, which totally took me by surprised. It's a flashy, confident picture, but one that I found easy to dislike. I think John Travolta was fantastic though. Underneath that plastic face, there's a lost man doing what he thinks is right, which is often not right.
I had preconceived notions of this being a cheesy borefest with Travolta playing a generic lead lacking charisma. WRONG. I'd have never thought that Disco could keep me glued to a screen, but that hazy, neon nightlife is so utterly hypnotizing. Travolta doing his own dances moves, and a killer performance. He's the anchor of the film, grooving to the beats with a desire to escape yes men, judgement and routine.
Cool soundtrack, but the story is boring. I guess it worked at the Disco times and made John Travolta a star.
Hollywood has made a lot of crappy dramas about relentlessly unlikable, douchebag people. The 80's in particular was awash in Users and Jags. But a lot of those crappy dramas wouldn't acknowledge what's really wrong with their characters, their arrogance, their ignorance, and their worldviews. This one does.
Take that for whatever it's worth to you. Just don't expect this to be a definitive film about anything other than John Travolta's moves. (Why is 'Moves Like Travolta' not a thing? Mick can't dance.)
Every film that has ever been nominated for an Academy Award in any category. Enjoy!