film elements that are brought together have a unique quality and vision and the final result is something more special than the sum of the elements themselves. In a nutshell, this is a simple story about a young Italian Brooklyn man, Tony Manero, from humble roots with a gift for dancing who dreams of something better against all odds. He escapes from it all out on the dance floor, basking in the glow of the disco ball, and the frivolous, moving dance music. He meets another young woman at the danceclub, Stephanie Modano, played by an underrated Karen Lynn-Gorney, who is equal to him in dance ability, and, more importantly, in desiring a better life. The two struggle together, and against each other, in their pursuit of winning a dance contest that may spur on their dreams.A simple story yes. One you've seen before yes. But after that, there is no other film that can touch it. John Travolta, as Tony, was in his prime, giving a performance that is so likeable because he is so normal. Who can't relate to a character who is so honest, so cool, so goofy, so conflicted; who has talent but doesn't get recognized by the people who should recognize him, like his family, only by his friends whom he knows deep down are all creeps? This is all of us!The soundtrack features some of the best disco music ever made, in terms of making you feel joyous, and impervious to the world's problems. Mostly contributed by The Bee Gees, as well as others, it is the essential element that makes the whole thing work.John Badham's direction is even; giving the audience plenty of music and show stopping musical bits, yet unafraid to lure you back to the grim reality of what our hero is always up against. But it's never heavy handed. The story is equal parts dramatic, comedic, exhilirating, and pensive, and moves along just as rhythmically as the music.In the end, literally as well as figuratively, Tony is more alone and unsure than ever in his ever changing world. And so it makes sense that he reaches out to Stephanie for love and support; someone that has at least a little understanding of who he really is, even if they can't be lovers. Simple, realistic, beautiful. The 70's was the true golden age of American cinema. It was the era of the auteur. Great minds like Scorsese, Coppola, Lucas, Spielberg, Badham, and so forth had for a decade or so, the ability to make truly visionary films; in the sense that they had a lot of creative power to express themselves devoid of studio pressure, political correctness, marketing tie-ins, and big budget, sensory offending, special effects. They laid it on the line. And we get to enjoy it for eternity.Attention younger viewers, don't let the distorted lingering stereotype fool you. This isn't a "cheesy film" with John Travolta dancing like a clown to music that "sucks". It is as good a film as you'll see, if you can allow yourself to appreciate it as a real film. Disco music was once cutting edge before it "sucked". John Travolta was actually a good dancer and actor, and the story really does have depth.

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.

who only feels alive when he is on the dance floor at the local disco. There he is adored by his friends, by women and by strangers. There he is king. Everywhere else he is nobody. Even at home.Tony becomes infatuated with a woman named Stephanie. On the surface Stephanie appears to be much better off than Tony. For the most part Stephanie is a big talker, but Tony is bothered by her observations."Let me guess. You work all week long at some dead end job and then you go and blow it at all at 2001 the disco on the weekends. You're a cliché. You're no one, going nowhere." As much as Tony is upset by her words he can't argue with them. Soon Tony becomes frustrated with his "station in life" and tells Stephanie he wants out of Brooklyn .What makes Saturday Night Fever work so much for me is Tony is very typical of a lot of males who would rather have a good time and party now than build something toward the future. Bars are full of guys like Tony. Guys who are super stars in their local drinking establishments, but have no life outside of the night life.And of course there's the superb dance scenes that most people remember Saturday Night Fever for. The soundtrack is also one of the best out there.For whatever reason, Saturday Night Fever also has my favorite closing shot of all time. It's really nothing special, but I get choked up every time I see it.Saturday Night Fever is also a snapshot of a period in recent American history. The movie took place in 1977. The country was a mess after the Vitenam war ended and before Reagan stormed Washington and once again instilled a sense of pride in Americans. There was no longer a war to protest, but the average American didn't have much faith in our country. I think Saturday Night Fever does an excellent job of capturing what was probably a common attitude among young adults during the late 70's. Live for the moment because the future is pretty bleak.

movies you can watch & just enjoy yourself. How can you get tired of watching John Travolta walking down the street with a paint can? That opening captured your attention right from the start. You know where these characters are coming from. Tony's friends have basically given up on doing any better & have accepted there fate. Tony & Stephanie know there's something more out there for them & their going for it the best way they can. By the end of the movie I'm rooting for them to "make it big". Being a big John Travolta fan I am a little bit biased. I'll watch anything he's in. '

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.

exactly how it played last night with GREASE prior at 7.30pm. All that aside, SNF with its scalding expose of the lives of these 20 somethings is a superb film, and for all those moaning about it not being fun because it is a musical... well it is not supposed to be fun... it is a damning comment on the uneducated and ignorance of the lives depicted. If you seek a fun musical then see STEP UP which is NY similar but nowhere as courageous and fully realised as this film. In 1978 with underage fans screaming to be let in, it was considered smart to cut 10 minutes out, dub over all the swearing especially the two times Travolta says 'c*nt' in the same sentence, all the references and scenes to car sex... and make it PG friendly... and it certainly was a success. But if you want a "Scorsese version" as originally released, and you can tell drama from drivel, then this full R+ version is for you. I have never seen a better damning of an uneducated bunch of cruel insensitive people in any film... and if there is a moral to this cinematic thrashing... it is that if you are not educated then you will end up like this lot. Brit director John Badham has drawn well from the equally vicious portrayals seen in the 'kitchen sink' dramas made in Britain in the early 60s like "Saturday Night And Sunday Morning" or THIS SPORTING LIFE where the working class who are bogged in their ignorance keep returning to an emotional bruising cycle of behaviour until one just plain stops and looks at himself. Like Tony does in this film. I also believe the scene with Karen Lyn Gorney and Travolta in the empty apartment they consider renting is one of the great moments in any American film she is sitting on the window sill . This is a great film, uncompromising in its depiction of that 'lifestyle' cornered through ignorant mean-ness into delusion and nowhere. Perfectly realised. then cut to a PG. See the original.

"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.

grandmother Nina Hansen , and younger sister, Linda Lisa Peluso . To escape his day-to-day life, Tony goes to 2001 Odyssey, a local disco club, where every Saturday he is king of the dance floor and receives the admiration and respect he longs for. Tony has four close friends: Joey Joseph Cali , Double J Paul Pape , Gus Bruce Ornstein , and Bobby C Barry Miller . Tony and his friends ritually stop on the Verrazzano-Narrows Bridge to clown around. Tony agrees partner with neighbourhood girl Annette Donna Pescow , who longs for a more sexual relationship with him, in an upcoming dance contest. But her happiness is short-lived when Tony is mesmerized by another woman at the club, Stephanie Mangano Karen Lynn Gorney , whose dancing skills are most impressive. Although Stephanie rejects Tony's advances, she eventually agrees to be his partner in the dance competition, provided that their partnership remains professional. Tony's older brother, Frank Jr. Martin Shakar , was the pride of the family since becoming a Roman Catholic priest. But he upsets his parents and grandmother when he tells them he has quit the priesthood. Tony supports his decision, after Frank Jr. tells him that he never wanted to be a priest and only did it to make their parents happy. Tony brings Frank Jr. with him to the club, and after witnessing his talent on the dancefloor, he suggests that he should do something with his dancing. While on his way home from the grocery store, Gus is attacked by a gang and hospitalised. Meanwhile, Bobby C has been trying to get out of his relationship with his devout Catholic girlfriend, Pauline, who is pregnant with his child. Bobby asks Frank Jr. if he should ty and get the girlfriend to get an abortion or if he should marry her. Frank is unsure how to answer, his faith is tested, and Bobby's feelings of desperation increase. Eventually, the group gets their revenge on the Barracudas, the gang that Gus said attacked him, crashing Bobby C's car into their hangout. Tony, Double J, and Joey get out of the car to fight, but Bobby C runs away. When the group visits Gus in the hospital, they are angry when he tells them that he may have identified the wrong gang. Later, Tony and Stephanie dance at the competition, with a slow love-themed disco dance, and end up winning first prize. However, Tony believes that a Puerto Rican couple, performing a more energetic routine, were better, and that the judges' decision was racially motivated. He gives the Puerto Rican couple his trophy and reward money and leaves with Stephanie. Once outside in a car, Tony tries to force himself on Stephanie, but she resists and runs from him. Tony's friends later arrive with an intoxicated Annette. Joey says she has agreed to have sex with everyone, Tony is not interested, but Double J and Joey date-rape her. Bobby C pulls the car over on the Verrazzano-Narrows Bridge for their usual cable-climbing antics. Bobby performs stunts more recklessly than the rest of the gang; Tony tries to get him to come down. Bobby's strong sense of despair has driven him to his drunken state, and he initially felt suicidal, he ends up slipping and falling to his death in the water below. Disgusted and disillusioned by his friends, his family, and his life, Tony spends the rest of the night riding the subway into Manhattan. When morning dawns, Tony arrives at Stephanie's apartment. He apologises for his bad behaviour, telling her that he plans to relocate from Brooklyn to Manhattan to try and start a new life. Tony and Stephanie salvage their relationship and agree to be friends. Also starring Sam Coppola as Dan Fusco, Total Recall's Robert Costanzo as Paint Store Customer, Ann Travolta John's sister as Pizza Girl and Helen Travolta John's mother as Lady in Paint Store. Featuring the Bee Gees songs: "Stayin' Alive" number 9 on 100 Years, 100 Songs , "Night Fever", "You Should Be Dancing", "More Than a Woman" also featuring the Tavares version and "How Deep Is Your Love" nominated the Golden Globe for Best Original Song . Also featuring "A Fifth of Beethoven" by Walter Murphy, "Disco Inferno" by The Trammps and "If I Can't Have You" by Yvonne Elliman. Travolta the year before he was cast in Grease gives a terrific performance, and for a short time he was a superstar and pop icon. It is a very simple story, a young man escaping the harsh realities of his bleak life by strutting his stuff at weekends on the dancefloor, the gritty material away from the disco is mixed, with difficult subjects tackled. As mentioned before, the most memorable scenes are indeed the dance sequences, some party-poopers may find the 1970s time period naff and cringeworthy, but you cannot argue that the choreography, costumes and use of colour for the disco sequences are splendid, all in all a most interesting dance musical drama. It was nominated the BAFTAs for the Anthony Asquith Award for Film Music for the Bee Gees and Best Sound, and it was nominated the Golden Globes for Best Motion Picture - Musical/Comedy and Best Original Score for the Bee Gees. The Original Movie Soundtrack album was number 80 on The 100 Greatest Albums, John Travolta was number 46 on The 100 Greatest Movie Stars, he was number 38 on The 100 Greatest Sex Symbols, he was number 63 on The 100 Greatest Pop Culture Icons, and he was also number 46 on The World's Greatest Actor, the film was number 67 on The 100 Greatest Sexy Moments, it was number 68 on The Ultimate Film, and it was number 83 on The 100 Greatest Films. Very good!

him into another level of notoriety and prestige and he sets out to win it any way he can, constantly practicing his slickest moves. Gorney plays a social-climbing girl who has laid the ground work for getting out of Brooklyn and, though she is attracted to Travolta, is repulsed by the common qualities he represents. He becomes fascinated by her and considers her his way out of his current surroundings. Meanwhile, Travolta's friends dabble in booze, drugs, sex and gang warfare as they wallow in the stew of their existence. It all builds up to the big night of the contest where things may not turn out as expected. Travolta is magnetic in this, his first major film role. He worked tirelessly to perfect the dance moves which though, at times, look rather silly today are a highlight of the film. He also, however, brings much heart, charisma and commitment to the dramatic side of his not-always-sympathetic character. Gorney who is easily a decade too old for her role is a good counterpoint to Travolta and ably embodies her tacky, but desperate-to-change, character. She attempts to be as classy and refined as possible, yet her accent and crackling chewing gum belies her past. Their somewhat complex relationship adds some depth to what could have been a very shallow film. Travolta's friends are played with much authenticity and verve. Oddly, these actors continued with only marginally successful careers while Travolta went through the stratosphere. Another carefully etched performance is turned in by Pescow as one of Travolta's devoted followers. She goes a tad overboard near the end, but otherwise presents a solid, though pitiful, characterization. She was one of the few actors in the film to achieve any sort of success afterwards and even that was limited. Gorney fell off the cinematic map entirely! Travolta's family is played by more believable and well-textured actors. The music of the film the soundtrack of which was one of the all time top sellers is inherent to the story and is a compilation of some of the best that disco had to offer though some might say even the best was still horrible! Even the "Disco Sucks" crowd cannot deny the impact that this film had on the country as it set trends everywhere. Interestingly, some of the group numbers in the disco bear a striking similarity to the more recent country line dancing craze, only with more arm movements. The language of the film is tough, but necessary and realistic. There are two gut-wrenchingly suspenseful scenes atop the Verrazano Narrows bridge. It's a time capsule of a hedonistic and free-wheeling era pre-AIDS but with insightful examination of class structure and economic barriers, the nature of friendship among young men and the cost of inhumanity towards one another. A rancid and ludicrous sequel which is good for some unintentional laughs can not tarnish the spirit of the original film which still holds up today.