It's murder on the dance floor...
A man is obsessed with John Travolta's disco dancing character from "Saturday Night Fever".
A man is obsessed with John Travolta's disco dancing character from "Saturday Night Fever".
The World Is More Than Enough 2: Back To The 30 Countries (10/30 - Chile)
"You're going to end up shitting out a bastard!" is perhaps the single nastiest line I've ever heard (or read) in any film I've ever seen. Marvellous!
Having never seen Saturday Night Fever, I am now slightly scared about seeing it after seeing Tony Manero. This Chilean drama is labelled quite frequently as a black comedy, even though I rarely felt like laughing. It also arrives with a reputation for being quite naughty and also unflinchingly violent but is actually a fair bit tamer than its reputation would suggest. That or I've watched too much violent crap and porn in my life. That'll be it,…
Well now, I... um... wow. Here I was thinking I was set to experience a cute little Chilean comedy about some schlubby loner obsessed with Saturday Night Fever. The reality is... a little different. I'm not going to say anything to preserve the effect for those of you who haven't seen it, but the point where you understand what's going on is so dazzlingly striking that I couldn't take my eyes off the screen until the credits rolled. Alfredo Castro is nothing short of astonishing as the Travolta wannabe, conveying all sorts of emotion with frightening agility. An incredible film, seek it out.
What do Pablo Larraín and Todd Philips have in common? They sure loved The King of Comedy enough to make similar films adapting the background of the social commentary. However, Larraín did it 11 years before Philips.
Tony Manero is a bleak and jarring chilean film set during Pinochet's dictatorship, it tells Raúl's story, a man obsessed with John Travolta's character and dance moves in Saturday Night Fever. Sounds quirky and even funny, I promise it isn't.
This is a character study about a psychotic man desperate for attention, who's willing to do everything, even killing to fulfill his wishes. There's something very interesting about the glorification of Hollywood culture and specially its impact in latin america, even more the…
A common reaction from those giving Saturday Night Fever a rewatch for the first time in decades is often an exclamation of surprise: they weren't expecting the darker side of the film, and they sure were not expecting the film to be as good as it was.
My last rewatch was a very long time ago so I'm sure there are nuances I am missing, but my guess is that there are more elements of Saturday Night Fever being mirrored in Tony Manero than simply the mimicking of the dance scenes.
Tony Manero is an odd, disturbing look at the life of Raúl Peralta, a man who likes to believe that he is John Travolta's character Tony Manero. The film…
I mean, I'm not terribly fond of Grease either, but I think that's an overreaction.
Pablo Larraín's second film narrows its focus considerably, yet somehow becomes even more ambitious; rather than the presumably autobiographical thoughts on art that make up the intellectual foundations of Fuga, this attempts to diagnose the whole of Chile during the Pinochet years through the lens of one very unsavoury man. Alfredo Castro gives an unforgettable lead performance as Raúl Peralta, a grubby, middle-aged disco obsessive whose determination to be recognised as his neighbourhood's foremost Travolta impersonator leads him to horrifying violence.
As a study of the inner life of a serial killer, Tony Manero ranks only a hair beneath John McNaughton, Shohei Imamura and Fritz…
Tony Manero isn’t lush and beautiful like Saturday Night Fever—it can’t be. And unlike Saturday Night Fever, it doesn’t attempt to draw you in with slick filmmaking or with John Travolta or even with impressive dancing. Tony Manero is repulsive, both as a film and as a character. Life—and especially life under Pinochet—is ugly; life is not an American movie. And while we can escape and take refuge in those movies, they ultimately won't save us from our reality.
But while the film is interesting in that regard, I have an increasingly low threshold for movies (or books, or shows, or anything) that follow horrible, violent, repugnant men (that was the reason why I didn’t care for Saturday Night Fever…
Diseased in a way that feels not only tangible, but cultural. A slum dwelling murderer who obsesses over the titular Saturday Night Fever jabroni slaves away to obtain the perfect white suit, the manicured hair, and learn the disco dance moves, all in the name of appearing on a talent show where the top guest continues on next week to compete for 75,000 pesos, and the runner up gets a blender. Meanwhile, General Pinochet's own personal gestapo continue to round up and execute this dangerous small time dreamer's neighbors, exercising seemingly random fascistic power. Imported cinema becomes a gateway to escape, while our gaunt, ghostly Latin Al Pacino - Alfredo Castro's haggard mug resembling a twisted mirror of the American…
In the 2008 film Tony Manero, director Pablo Larraín takes his central character Raúl, a fifty-something violent and impotent obsessive sociopath (played by Alfredo Castro), and creates a superb metaphor for the oppressive fascist regime of General Pinochet in Chile. Given that Pinochet's 1973 military coup was financed by the CIA who wanted rid of Salvador Allende, the first democratically elected Marxist president, it's only right (and blackly ironic) that Raúl's dangerous obsession is with the hit Hollywood movie Saturday Night Fever.
There's a moment where Cony (Amparo Noguera) one of Raúl's dance troupe and girlfriends remarks that they are both the same - a comment that visibly repulses Raúl. Small wonder really, as her statement suggests a commonality, a…
I'll elaborate on this later, but Pablo Larraín does everything right with Tony Manero that Todd Phillips did wrong with Joker.
There's no posturing here, only a raw and brutal portrait of a lack of identity which is forged through the dream of being someone else, resulting in a cold alienated existence. I'm also not going to pretend to have a firm grasp on Chilean history, but the period detailing of this film seems far more lived in and honest than the superficial presentation of an American city from the 80s that Joker gave.
Tony Manero sure is a brutal experience, but the power of it exists primarily because of the unpredictable nature of events unfolding before our very eyes. There’s a stark depiction of isolation and vulnerability in the film’s titular figure and the suffocating atmosphere which director Pablo Larrain enforces throughout is remarkable to visualise. These aforementioned moments of unpredictability remain essential to the film’s analysis of a bizarre individual, all of them confined in their intensity but as emphatic as possible due to the phenomenal work of Alfredo Castro. He delivers a performance of other-worldly proportions, reaching to the terrifying standards of one Klaus Kinski in his shattering approach to the character. This is an insurmountable work, a near-masterpiece. More frightening than many horror features.
suat aksoy tarkan dance hall fatih koray yiğit robert de niro taxi driver x çakma al paçino doğucan tayfurun montunun üzerine sıçıyor mashup
fatih koray taxi drivera benzeyenler yarışmasına katılıyor 2. oluyor
Hay algo de las películas políticas y es que en si la política latinoamericana es un drama existente pero crear un personaje que está completamente desconectado con su realidad en búsqueda de ser una persona en la vid, no, no me refiero a ser “alguien”, me refiero a ser Tony Manero.
La película evoluciona a uno de los mejores estudios de personaje, plagados de simbologías y bastante increible.
Hoy en día, el chileno Pablo Larraín se ubica entre los directores más importantes del cine latinoamericano, dueño de una muy interesante filmografía. El despegue lo logró en 2008 con esta TONY MANERO, drama ambientado en Chile, durante el Régimen Pinochetista; en ese contexto de falsa calma, Raúl, obsesionado con la película FIEBRE DE SÁBADO POR LA NOCHE, se viene preparando hace mucho tiempo para participar en un programa de talentos, imitando al mítico personaje que convirtió a John Travolta en estrella. Pero la preparación de Raúl no se reduce a practicar los pasos, buscar el vestuario o imitar los gestos de Tony Manero. Raúl es un psicópata, cuya errática conducta, lo lleva al asesinato, sin ningún sentimiento de culpa;…
Pablo Larraín tiene una extraña forma de contar que prefiere Saturday Night Fever antes que Grease.
Todo en Tony Manero es sórdido, sucio, asfixiante. El cuartucho de la mala muerte donde vive. Los paredones sin revocar que lo guarecen y las calles del barrio por las que corre. Todo lo que lo rodea ayuda a alimentar un aura miserable y decadente. Todo en Tony Manero exhala miserabilismo.
En los primeros minutos pensé estar ante una especie del Travis de Taxi Driver versión chilena pero al rato toda empatía -que tampoco era mucha- se desmoronó ni bien brotaron los primeros signos de violencia gratuita. El personaje es nefasto. Es un sociópata, psicópata y amoral. De alguna manera, él es el resultado de todo lo malo que puede engendrar una sociedad. Y es acá donde la dictadura chilena…
Films about desperate people doing what they can to tough it out in their lives are always fascinating, and for the most part, this was. The hook of the main man being obsessed with Saturday Night Fever and using it as a way for him to escape his life - doing everything violent and horrible along the way to keep it up - is great and felt fresh, but it's diminishing returns.
Can be truly anxiety-inducing in ways that are visceral, gritty, and unpleasant. The location filming and the darkness that permeates every frame will definitely appeal to some people - it's a triumph of atmosphere and tension. It's just repetitive. Our character is wronged in some way, gets revenge,…
i love Pablo Larrain. not my absolute favorite, but it was good. very intense themes
Tanner with some tom holland character in like 30 years
M. O życiu owładniętym obsesją i tym czy powinniśmy stawiać prywatne cele ponad dziejową walkę.
This review may contain spoilers. I can handle the truth.
Pablo. Pablo, Pablo, Pablo. Eres uno más del montón. Tu única característica es tu apellido y los contactos que tienes. Tus películas son lo mismo que las "comedias" de Badilla y López. No hiciste nada para cambiar el estereotipo de que el chileno le aplaude a todo lo que esté contra de la dictadura y se entretiene viendo sexo y tetas en una pantalla. El hecho de que una vieja facha se muera en los primeros diez minutos te asegura un puesto en el colectivo político popular, pero no hace cambiar mi parecer de que no aportas nada nuevo a la industria, más allá de cámaras más caras (que al parecer ni siquiera sabes usar) o actores buenos que son…
This is joker before joker. And way better. Because Joker looks like Al Pacino and doesn't bitch about society.
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