SATURDAY NIGHT FEVER
(1977)
Director: John
Badham
Screenplay:
Norman Wexler based on the magazine article “Tribal Rites of the New Saturday
Night” by Nik Cohn
I recall my first viewing of “Saturday Night Fever,”
exceptionally well. I was about 10 or 12, about the age my mom was when she
first saw it. Keeping in mind John Travolta was still only a teen idol playing
Vinny Barbarino on “Welcome Back Kotter,” and hadn’t even done “Grease,” yet. Plus,
I had gotten all these images of the film beforehand of Travolta’s great dance
sequences and the music of the Bee Gees, had all but solidified this film for
me as, to use a documentary word, the zeitgeist of the disco era. What I found however
was a very different film. A dark movie, with a tragic and ambiguous ending
that I could see coming a mile away, but felt more tragic because I could. I,
at about 12 years old had been more observant of the world around these
depthless characters than they were. Yes, there are quintessential scenes of
dancing that are unforgettable and the music makes the album undisputedly one
of the greatest movie soundtracks of all-time, but also being one of those
albums that absolutely solidifies a particular era, almost as much as some
Beatles albums do. But by god, gangs, gang-rape, misogyny,... this is the movie that defined a generation? This is the movie that defined my mother's generation? Turned Travolta into the iconic star that he is?
John Travolta in an Oscar-nominated role, (The film's only nomination, no not even one Best Song nomination, shame Academy) plays streetwise
Tony Manero, a Brooklyn kid, not much older than a teenager, who still lives
with his parents, has posters of Sylvester Stallone and Farrah Faucet in his
bedroom, where he patiently and deliberately collects good shirts and tights
pants with his paint store clerk money and probably a blow dryer, to suit up
for Saturday Nights at the local disco club, 2001 Odyssey. He hasn’t graduated
high school, and has no real technical skills other than his dancing abilities.
He pales in comparison in his family’s eye to his older brother, a priest, and
has almost as bad a Madonna-whore complex with women as Jake La Motta would
have in “Raging Bull.” I describe his character excessively, but he is, in my
eyes, the entire film. He’s in every scene, and is therefore who we follow. As
much as the film represents an era, the movie is about this truly unlikable
character. He has a few buddies who he hangs out with at the disco, who can be
equated to a gang, particularly in the way they will all attack when one of
them is attacked, although it’s unsure they went after the right guys. Tony is
the leader of this group because, as the female teachers of my Uncle Billy
would say, they all liked him. His women, not including the typical departures
from the dance floor to the backseat, include Annette (Donna Pascow), a girl
who likes Tony, but can’t seem to get him to notice her, and Stephanie (Karen
Lynn Gorney), a Manhattan secretary by day, Brooklyn dancer by night who Tony
is attracted to almost as much as his desire to use dance as a way out of
Brooklyn. He yearns so much to leave that he’s memorized statistics about the
Brooklyn Bridge hoping to cross it. Despite obvious differences between the
characters, two different for them to ever be together, which this film
correctly knows, they combine to train for and compete in a disco dance
contest, which actually is slightly played down a bit in the film than it is in
our recollections. The events of that night lead to the Brooklyn Bridge with a
couple of Tony’s friends, Annette and a couple of misguided and
accidentally-on-purpose incidents occur. Annette desires Tony for all he is;
Stephanie tears down Tony seeing all he isn’t. All these people and directions
pulling Tony, eventually shows him the harshness of a world where the Saturday
Night discos become the center of your world. They’re dark, but with many
lights, and more than enough beautiful women ripe for sinning, and enough young
men, who’re plenty capable of many sins. I seriously doubt Tony is capable of having
a better life, but by the end of the movie; he has at least come to desire it.
One step closer to crossing that bridge.
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