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
While Tony and Stephanie are sitting at the windows in Stephanie's apartment, she reaches out and grasps Tony's left hand with her left hand; but when the camera jumps back, she's holding his left hand with her right hand. 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 »
For the PG version some of the language replacement goes as follows: 1. Near the beginning when Tony and his boss are shutting up shop, his boss says to him to 'save his money, build a future', and Toni's response being 'oh fuck the future'. The PG version replaces it as 'to hell with the future'. The entire sequence plays out with the word 'hell' instead of 'fuck' when they talk, it seems like it's an entirely different take shot especially for this version. But also it's a lot darker, you can't see as much compared to the uncut version as if they've maybe darken it so their mouths aren't obvious which may suggest they re-dubbed it but using the same take. 2. When Tony and Annette walk down the stairs to the dance studio and Tony asks if she's 'a nice girl or a c**t?' but the PG version changes it to 'a nice girl or a pig?' 3. When the guys jump off the bridge and Annette runs to the side to look over she yells at them 'you fucker's', the PG version changes it to 'you fakers'. 4. The scene after Tony and Stephanie win the dance contest and Tony doesn't believe they should have won seems to be a different take in the PG version as a boom can briefly be seen at the top of the frame, plus the swearing is replaced, but in the uncut version the boom can't be seen. See more »
Beautifully Defines An Era On The Backdrop Of A Realistic Class Study and Dynamic Music
Although it may seem dated and cheesy to some viewers today Saturday Night Fever remains one of the most underrated examples of '70s pop-culture. It is undoubtedly the quintessential dance flick and remains one of the most entertaining films of all-time. Yet, behind all the music and entertaining aura you are actually viewing a drama studying the American class system and young rebellion. Though at times it is slightly exaggerated, it still manages to capture a vast amount of authenticity and ultimately the sights and sounds of the time.
Saturday Night Fever follows self-proclaimed "dance king" Tony Manero (John Travolta) and his love of dancing and the trials and tribulations of his life in the Bronx. He soon meets an arrogant fellow dancer named Stephanie Mangano (Karen Lynn Gorney). Quickly becoming attracted and influenced by the women he starts questioning the way he lives his life.
The film is not always upbeat and at times can be depressing, particularly the scenes depicting peer-pressure. Although both have their differences, both are very alike and ultimately want to be something "big". There are also the elements of jealously, rivalry, religion, rebellion, respect and racism added into the film. This captures the realism of the time and with more accuracy and honesty than a lot of films. Just take a look at the brief scene where Tony is on the tube, this is an oddly poignant, effecting and compelling scene presenting Tony's confused emotions.
Saturday Night Fever still carries the vibe, rhythm and atmosphere it did back in '77. It remains one of the most influential films for both the film-world and pop-culture. Infamously holding some of the greatest dance sequences ever committed film; you can feel the energy, emotions, time and determination that were spent perfecting the dance scenes to the finest detail. The lighting is perfect at creating the "disco world", the set-piece of the 2001 Disco is one of the film's many iconic highlights.
John Travolta dedicates himself to his dancing and character, fitting the role with a graceful ease. The film goes into depth at studying characters too, it shows how desperate everyone is to fit in and be able to make an impressive image. The fantastic shots on character's feet show the "strut" in their walk, representing their desire to maintain their reputation of being "cool". All the characters want to be something, while a lot of them will never add up to anything due to their working-class backgrounds. There are a fair amount of American social-comments scattered throughout the film and retaining a surprising amount of intelligent value.
The gloriously groovy and funky soundtrack is possibly the film's finest element. The music accompanies the dance sequences with an amazing amount of memorably robust imagery. The use of The Bee Gees' music is wonderful to listen to and also for helping to create an ambiguous atmosphere of love, drugs and sex. The shooting techniques in the disco are magnificent for filming the dance scenes and fit perfectly alongside the other technical elements.
Saturday Night Fever is a far more professional film than one might expect, it has intelligence as well as entertainment, which is something that makes a more than just admirable achievement. It is a truly remarkable triumph and a film that deserves more appreciation than it gets.
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