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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The snag is that SNF was NOT a disco movie. Yes, it had dazzling dance sequences, yes, it had a pulsating soundtrack, and, yes, many of the scenes were shot in a disocteque, but I have always felt that the disco theme was peripheral to the real story; the alienation of youth and the acceptance and sanctuary they find in each other and their chosen surroundings. In fact, Nik Cohn's article on which the film was based (and which he later admitted was faked), "Tribal rites of the new Saturday night" would have been a more apposite title. John Travolta perfectly captures this. As Tony Manero he almost ritually prepares himself for his night out, preening himself in front of the mirror, donning his warrior's uniform, and then escaping the drudgery of his existence to his battleground, the local disco where he is the tribal chief.
Gritty, foulmouthed and somewhat downbeat, SNF starkly presented the darker underbelly of the disco subculture.
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.
The same goes for "Saturday Night Fever" (SNF), a film that showcases disco in its most perfect form. And yet the true theme of the movie is about wanting more out of your life but just existing, until something affects you so much that you decide to start living.
John Travolta's character is so well played against his friends who are, quite simply, cruel no hopers who disrespect the opposite sex & treat them as fifth best against the car they all share to have 'mobile' sex in.
The female character that eventually shifts Travolta's character appears at a time when horrific events really force him to reassess where he is going something that his friends will never be unable to ever do.
It is easy to label a movie a certain way. There are films with similar themes such as 'Good Will Hunting', which is noted for its themes & dialogue rather than being a kitsch memory, and we should remember SNF for the same reasons.
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