IMDb > Saturday Night Fever (1977)
Saturday Night Fever
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Saturday Night Fever (1977) More at IMDbPro »

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Overview

User Rating:
6.8/10   42,505 votes »
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Down 23% in popularity this week. See why on IMDbPro.
Director:
Writers:
Nik Cohn (story)
Norman Wexler (screenplay)
Contact:
View company contact information for Saturday Night Fever on IMDbPro.
Release Date:
16 December 1977 (USA) See more »
Genre:
Tagline:
Where do you go when the record is over... See more »
Plot:
A Brooklyn youth feels his only chance to get somewhere is as the king of the disco floor. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for Oscar. Another 7 wins & 8 nominations See more »
User Reviews:
"Would you just watch the hair? I work a long time on my hair, and you hit it!" - Tony Manero. See more (193 total) »

Cast

  (in credits order) (verified as complete)

John Travolta ... Tony Manero

Karen Lynn Gorney ... Stephanie
Barry Miller ... Bobby C.
Joseph Cali ... Joey

Paul Pape ... Double J.

Donna Pescow ... Annette
Bruce Ornstein ... Gus
Julie Bovasso ... Flo
Martin Shakar ... Frank Jr.

Sam Coppola ... Dan Fusco (as Sam J. Coppola)
Nina Hansen ... Grandmother
Lisa Peluso ... Linda

Denny Dillon ... Doreen
Bert Michaels ... Pete

Robert Costanzo ... Paint Store Customer (as Robert Costanza)
Robert Weil ... Becker
Shelly Batt ... Girl in Disco

Fran Drescher ... Connie
Donald Gantry ... Jay Langhart
Murray Moston ... Haberdashery Salesman

William Andrews ... Detective

Ann Travolta ... Pizza Girl
Helen Travolta ... Lady in Paint Store
Ellen March ... Bartender
Monti Rock III ... The Deejay

Val Bisoglio ... Frank Sr.
rest of cast listed alphabetically:
Roy Cheverie ... The Wrong Partner (uncredited)
Adrienne King ... Dancer (uncredited)
Chere Mauldin ... Dancer (uncredited)
M.J. Quinn ... Dancer (uncredited)

Alberto Vazquez ... Gang Member (uncredited)
Frank Verroca ... Dancer (uncredited)
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Directed by
John Badham 
 
Writing credits
Nik Cohn (story)

Norman Wexler (screenplay)

Produced by
Milt Felsen .... associate producer
Kevin McCormick .... executive producer
Robert Stigwood .... producer
 
Original Music by
Barry Gibb 
Maurice Gibb 
Robin Gibb 
 
Cinematography by
Ralf D. Bode (director of photography)
 
Film Editing by
David Rawlins 
 
Casting by
Shirley Rich 
 
Production Design by
Charles Bailey 
 
Set Decoration by
George DeTitta Sr.  (as George Detitta)
 
Costume Design by
Patrizia von Brandenstein  (as Patrizia Von Brandenstein)
 
Makeup Department
Max Henriquez .... makeup artist (as Henriquez)
Joe Tubens .... hair designer
 
Production Management
John Nicolella .... production manager
 
Second Unit Director or Assistant Director
Joseph Ray .... second assistant director
Allan Wertheim .... assistant director
 
Art Department
James Mazzola .... property master
William Canfield .... set dresser (uncredited)
 
Sound Department
Michael Colgan .... sound editor
Robert W. Glass Jr. .... sound re-recording mixer
Les Lazarowitz .... sound mixer
John T. Reitz .... sound re-recording mixer
John Wilkinson .... sound re-recording mixer (as John K. Wilkinson)
 
Stunts
Paul Nuckles .... stunt coordinator
Lightning Bear .... stunts (uncredited)
 
Camera and Electrical Department
Holly Bower .... still photographer
James Finnerty .... key grip
Tom Priestley Jr. .... camera operator
William Ward .... gaffer (as Bill Ward)
Gary Muller .... first assistant camera (uncredited)
Robert Paone .... second assistant camera (uncredited)
 
Costume and Wardrobe Department
Jennifer Nichols .... costumer
 
Editorial Department
Angelo Corrao .... assistant editor (uncredited)
Jean-Marc Vasseur .... assistant film editor (uncredited)
 
Music Department
John Caper Jr. .... music editor
David Shire .... composer: additional music
David Shire .... music adaptor
Lester Wilson .... stager: musical numbers
Dan Wallin .... score mixer (uncredited)
 
Other crew
Arlene Albertson .... production office coordinator
Lorraine Fields .... assistant choreographer
Jimmy Gambina .... technical consultant (as James Gambina)
Gary Kalkin .... unit publicist
Lloyd Kaufman .... location executive
Carl Lotito .... assistant: Mr. Stigwood
Joy McMillan .... assistant: Mr. Stigwood
Colleen Murphy .... assistant: Mr. Badham
Jo-Jo Smith .... dance consultant
Ron Stigwood .... assistant: Mr. Stigwood (as Ronald Stigwood)
Renata Stoia .... script supervisor
Lester Wilson .... choreographer
Deney Terrio .... dance instructor (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
MPAA:
Rated R for strong language, sexuality/nudity and some drug content
Runtime:
118 min | USA:113 min (PG version)
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:16 | Australia:R | Australia:MA (re-rating) | Brazil:12 | Canada:PA (Manitoba) | Canada:A (Nova Scotia) (edited US version) | Canada:13+ (Quebec) | Canada:R (original rating) | Canada:14A (re-rating) | Chile:18 | Finland:K-16 | France:-12 | Iceland:L | Italy:VM14 (uncut) | Malaysia:(Banned) | Netherlands:AL | Netherlands:16 (orginal rating) | New Zealand:R16 | Norway:18 | Norway:16 (cut) | Peru:18 | Singapore:M18 | South Korea:18 | Spain:18 | Sweden:15 (original rating) | Sweden:11 (re-rating) (1978) | UK:X (original rating) | UK:18 (video rating) | UK:PG (video rating) (cut) | UK:A (re-rating) (1979) (cut) | USA:R | USA:PG (edited version) | West Germany:12

Did You Know?

Trivia:
The movie was originally called "Tribal Rites of the New Saturday Night," the title of the New York Magazine article that inspired it. The film's title was ultimately shortened to "Saturday Night," as a direct reference to the fact that Tony (John Travolta) and his buddies inhabited 2001 Odyssey on Saturday nights. However, when The Bee Gees submitted the soundtrack, one of the songs, "Night Fever", was thought to embody the film's spirit better than the original. Director John Badham added the word "Saturday" and it replaced the original title.See more »
Goofs:
Audio/visual unsynchronized: When Tony and Stephanie go to dance to Tavares' version of "More Than a Woman", Tony places the needle on the record, and the arm skips all the way to the end, revealing that the record player is broken and the music dubbed in later.See more »
Quotes:
Frank Manero Jr.:Tony, the only way you're gonna survive is to do what you think is right, not what they keep trying to jam you into. You let 'em do that and you're gonna end up in nothing but misery!See more »
Movie Connections:
Soundtrack:
SalsationSee more »

FAQ

What are the differences between the PG Version and the Uncensored R-Rated Version?
See more »
74 out of 82 people found the following review useful.
"Would you just watch the hair? I work a long time on my hair, and you hit it!" - Tony Manero., 14 January 2004
Author: MovieAddict2014 from UK

I love this movie.

I love the way it focuses on dancing, yet it isn't about dancing at all. Yes, long amounts of time are given to showing John Travolta light up the dance floor, but the story's fundamental point is the most subtle: Trying to escape from your boring daily routine, even if it is just for an hour.

That's exactly what Tony Manero does. He saves up his weekly earnings from where he works in downtown Brooklyn at a crummy hardware store, then blows it all in one day at the local disco joint, where he reigns as king. His female dance partner calls him a walking cliché. In a sad sort of way, it's true.

But this is Tony's dream. I quote an aspiring comedian named Rupert Pupkin: "Better to be king for a night than a schmuck for a lifetime." "Saturday Night Fever" is based entirely on this idea. In an odd sort of way, Rupert Pupkin is a lot like Tony Manero. He just has a different dream. We all do.

"Saturday Night Live's" theme tune, "Staying Alive" (the title of the horrendous Sylvester Stallone-directed sequel), speaks as much truth about life as the film itself. "I'm goin' nowhere, somebody help me, I'm goin' nowhere, somebody help me yeah" chants a voice in the Bee Gee's universally known disco hit. As I listen to it right now, I realize just how perfect it is for the movie. It's a legendary song, and for good reason.

I didn't grow up during the disco generation. But "Saturday Night Fever" makes me feel as if I had--and that is one of the fundamental keys to a film so incredibly outdated and yet still poignant in our memories. It was the film that solidified John Travolta as an icon, and the film that eventually led to him being regarded as the King of Cinema Disco. (In the Travolta film "Get Shorty," a criminal threatens a producer by saying that, if he doesn't pay up, he'll be "dead as disco." Ironic.)

Travolta is in his prime spotlight as Manero, a Brooklyn kid aiming to make it big on the dance floor. There isn't much to the movie other than the need for fame--as brief as it may be--and the most obvious theme of the film, which is learning to treat women as something more than just sex objects.

Tony and his pals all join together at 2001 Odyssey, a crummy disco club with dizzying strobe lights and a constantly-waxed dance floor where Tony is often encouraged to let loose and show everyone his moves. When he's not doing that, he's sitting at the bar watching a topless stripper do her thing. And he's only 19.

Part of this movie is learning to grow up, and treat women as something more than Tony is used to treating them. But that's one of two primary plots--the other is, of course, trying to break away from a boring life. Tony comes from an Italian background, and he lives in a bad area of town. His mother is proud of her eldest son, who became a priest, and she's discouraged by the fact that her other son doesn't seem to care about making anything out of his life. We get the feeling that Tony's parents once had the same outlook as their son, and fear he may be going down their own path. After Tony gets a raise from $3 to $4, his father tells him that $4 can't even buy $3. His son swears at him and storms away.

Some of my favorite scenes in "Saturday Night Live" are the human ones, such as when Tony stares in his bedroom mirror, bare-chested, and combs his hair forever, looking over himself with the same pride that Travis Bickle displayed in the famous "You talkin' to me?" scene in "Taxi Driver," released a year earlier. In the background of the shot are posters of Al Pacino from "Serpico" and Sylvester Stallone as Rocky Balboa. (Just think, Sly directed the sequel and did a cameo, yet he was, in a way, in the first film, too.)

I also like when Tony is interacting with his dysfunctional family. He's nice to his little sister when he walks through the door after work, but after working for quite some time on his now-out-of-date hairstyle, he barks at his father when he is slapped during dinner (in one of the rare scenes that made me laugh). He yells at him: "Would you just watch the hair? I work a long time on my hair, and you hit it!" I know that scene has been quoted before, but I quoted it again since it made me laugh so hard.

In one of the finest scenes in the entire movie, and certainly one of the most touching, Tony has lunch with an older girl (who later becomes his dance partner) and tries to impress her by acting mature. But his immaturity shines through--he doesn't have a clue what he's talking about half the time, and when he tries to act smart she counters his moves with true brainpower. In a way, this is the first time Tony realizes that women aren't as dumb as he thought they were.

This is one of my favorite guilty pleasures for all the right and wrong reasons. The wrong reasons include the dance floor numbers--I love them, and I probably shouldn't. As for the right reasons...I think we already know what they are. It's all about dreams. Everyone has some. Whether it's dancing or whatever, we all have dreams. And that's why I think "Saturday Night Fever" relates to so many different people on so many different levels.

Was the above review useful to you?
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