Ein Jugendlicher aus Brooklyn glaubt, dass seine einzige Chance auf Erfolg darin besteht, König der Tanzfläche zu werden. Seine jugendliche Unbeschwertheit und das Tanzen am Wochenende helfe... Alles lesenEin Jugendlicher aus Brooklyn glaubt, dass seine einzige Chance auf Erfolg darin besteht, König der Tanzfläche zu werden. Seine jugendliche Unbeschwertheit und das Tanzen am Wochenende helfen ihm dabei, die Realität seines trostlosen Lebens zu vergessen.Ein Jugendlicher aus Brooklyn glaubt, dass seine einzige Chance auf Erfolg darin besteht, König der Tanzfläche zu werden. Seine jugendliche Unbeschwertheit und das Tanzen am Wochenende helfen ihm dabei, die Realität seines trostlosen Lebens zu vergessen.
- Regie
- Drehbuch
- Hauptbesetzung
- Für 1 Oscar nominiert
- 6 Gewinne & 14 Nominierungen insgesamt
- Dan Fusco
- (as Sam J. Coppola)
- Paint Store Customer
- (as Robert Costanza)
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So Tony (Travolta) is a New York City born and bred Italian American with only a high school education, an employee at a dead end job - selling and mixing paint - in a store that is now extinct - the neighborhood hardware store that is about to get replaced by the big box hardware stores such as Harbor Freight. Dad is used to being the head of the family, but now he has been laid off in middle age. Suddenly Edith is talking back and disrespecting Archie and he doesn't like it one bit. And the only thing that makes Tony feel alive is Saturday nights on the dance floor of the local disco where he is the best.
And then he meets a girl - Stephanie. She is everything that I, a Texan, was told that New Yorkers are - loud mouthed, self important, snooty. And yet Tony follows her around like a puppy because he is in love. Annette (Donna Pescow) follows Tony around like a puppy because she is in love. It's funny how Tony doesn't like how Stephanie treats him, yet he turns around and treats Annette the same way. But Tony turns out to be much more self aware than you would think. And Stephanie - there is much more to her story than her being just another stuck up Manhattanite.
There is so much casual sex going on here that it answers the question "Where did herpes come from?". But it is so much more than glittering disco balls. it is a love story. A story of a guy learning about the friendship component of love. It is a tragedy. It is a story of young people at a crossroads. And last but not least, it has probably one of the great soundtracks in motion picture history and gave the Bee Gees a second act. I'd highly recommend it. Just try to ignore your probable first reaction "Yikes those clothes!!!!"".
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.
It wouldn't be until years later that I understood what a great story this is. It's a coming of age movie. It's a modern day tragedy. It's a love story.
The first thing that people think about when they hear Saturday Night Fever is disco and bell bottoms, but the story is timeless. Travolta plays Tony Manero, a loser in a nowhere job 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.
Wusstest du schon
- WissenswertesJohn Travolta had worked hard on the "You Should Be Dancing" sequence and threatened to quit the film when the studio suggested it should be shot in close-up instead of full-body.
- PatzerWhen Tony is walking with Stephanie to get coffee, a girl's scream is heard. A group of girls was watching them film the scene and they would scream when they saw John Travolta.
- Zitate
Tony Manero: Would ya just watch the hair. Ya know, I work on my hair a long time and you hit it. He hits my hair.
- Crazy CreditsWhen the title appears on screen, it is done in the style of a neon sign. The word "Fever" is blinking.
- Alternative VersionenIn 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.
- VerbindungenFeatured in Les rendez-vous du dimanche: Folge vom 16. April 1978 (1978)
- SoundtracksHow Deep Is Your Love
Courtesy of RSO Records, Inc., Stigwood Music, Inc. (Unichappell Music, Inc.) BMI and Bros. Gibb, B.V.
Written by Barry Gibb, Robin Gibb and Maurice Gibb
Performed by The Bee Gees
Top-Auswahl
Details
- Erscheinungsdatum
- Herkunftsland
- Sprachen
- Auch bekannt als
- Fiebre de sábado por la noche
- Drehorte
- 86th Street, Brooklyn, New York City, New York, USA(opening sequence: Tony's Walk)
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 3.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 94.213.184 $
- Eröffnungswochenende in den USA und in Kanada
- 3.878.099 $
- 18. Dez. 1977
- Weltweiter Bruttoertrag
- 237.113.184 $
- Laufzeit1 Stunde 58 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1