Nineteen-year-old Brooklyn native Tony Manero lives for Saturday nights at the local disco, where he's king of the club, thanks to his stylish moves on the dance floor. But outside of the club, things don't look so rosy. At home, Tony fights constantly with his father and has to compete with his family's starry-eyed view of his older brother, a priest. Nor can he find satisfaction at his dead-end job at a small paint store. However, things begin to change when he spies Stephanie Mangano in the disco and starts training with her for the club's dance competition. Stephanie dreams of the world beyond Brooklyn, and her plans to move to Manhattan just over the bridge soon change Tony's life forever.Written by
It is now rated PG because we want everyone to see John Travolta's performance... Because we want everyone to hear the #1 group in the country, the Bee Gees... Because we want everyone to catch Saturday Night Fever. See more »
When the title appears on screen, it is done in the style of a neon sign. The word "Fever" is blinking. See more »
In 2002, AMC (American Movie Classics) showed a new print of 'Fever' with scenes not in the theatrical release nor home version:
1) After Tony's first night at the disco, he and his buddies cruise the bridge, where the song 'Jive Talkin'' can be heard in the background. He gets out of the car, and begins to caress the bridge's structure with his fingertips.
2) After asking Doreen to dance, Tony and Doreen dance to 'Disco Duck'.
3) Tony takes Stephanie back to her Bay Ridge home, where they kiss in the car.
4) Tony signs for a telegram that tells his father has been asked to go back to work.
5) After getting out of the subway, Tony buzzes Stephanie's apartment building.
While the movie is more apt to be recalled for its impact on American pop culture, few who watch the movie will ever see beyond the admittedly fantastic dance sequences. As a result, many people might never recognize Saturday Night Fever as perhaps one of the best movies ever made about class struggles among white ethnics.
While his quick study under Denny Terrio for those dance sequences showed a great deal of determination, Travolta's Tony Manero shines in so many other way. The looks of embarrassment and exasperation that his character expresses when confronted with the possibility of working in a Bay Ridge paint store all of his life, or the prejudice and regional chauvinism of his friends, or the behavior of his friends at White Castle or his initial inability to express himself to Stephanie in any way that might impress her, all of these and more contribute to a fully realized character.
While Tony's friends idolize him, the movie never really does, but it does allow empathy for his plight, because even Tony realizes that he is virtually trapped by the current conditions of his existence. While much might be made of the homophobia, racism, and misogyny of the protagonist and his friends, these things are never excused and the movie goes to some lengths to express Tony's own recognition that these are shortcomings in not only his character, but those borne of a provincial mentality which he desperately longs to escape.
Forget those who call this a musical. While the music is an intricate part of the film and setting, Travolta's performance is what sets this film apart.
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