Ansioso por su futuro tras la escuela secundaria, un joven de 19 años italoestadounidense de Brooklyn trata de escapar de la dura realidad de su sombría vida familiar dominando la pista de b... Leer todoAnsioso por su futuro tras la escuela secundaria, un joven de 19 años italoestadounidense de Brooklyn trata de escapar de la dura realidad de su sombría vida familiar dominando la pista de baile de la discoteca local.Ansioso por su futuro tras la escuela secundaria, un joven de 19 años italoestadounidense de Brooklyn trata de escapar de la dura realidad de su sombría vida familiar dominando la pista de baile de la discoteca local.
- Dirección
- Guión
- Reparto principal
- Nominado para 1 premio Óscar
- 6 premios y 14 nominaciones en total
- Dan Fusco
- (as Sam J. Coppola)
- Paint Store Customer
- (as Robert Costanza)
Reseñas destacadas
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.
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.
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.
¿Sabías que...?
- CuriosidadesJohn 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.
- PifiasWhen 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.
- Citas
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.
- Créditos adicionalesWhen the title appears on screen, it is done in the style of a neon sign. The word "Fever" is blinking.
- Versiones alternativasIn 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.
- ConexionesFeatured in Les rendez-vous du dimanche: Episodio fechado 16 abril 1978 (1978)
- Banda sonoraHow 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
Selecciones populares
Detalles
- Fecha de lanzamiento
- País de origen
- Idiomas
- Títulos en diferentes países
- Fiebre de sábado por la noche
- Localizaciones del rodaje
- 86th Street, Brooklyn, Nueva York, Nueva York, Estados Unidos(opening sequence: Tony's Walk)
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 3.000.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 94.213.184 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 3.878.099 US$
- 18 dic 1977
- Recaudación en todo el mundo
- 237.113.184 US$
- Duración1 hora 58 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1