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 »
After being shortened from "Tribal Rites of the New Saturday Night" (the title of the New York Magazine article that inspired it), the working title of the film was "Saturday Night". When The Bee Gees added a song to the soundtrack called "Night Fever", the word "Fever" was added to the film title. This is the second time a John Travolta project had the title altered due to a song (see trivia for Welcome Back, Kotter (1975)). See more »
When Tony and Annette are making out in the car she is wearing a blue dress. When they drive to the bridge and she runs to the rail to see them her dress is brown. See more »
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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