Saturday Night Fever (1977)
Directed by John Badham
Tony spends his Saturdays at a disco where his stylish moves raise his popularity among the patrons. But his life outside the disco is not easy and things change when he gets attracted to Stephanie.
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What critics compared Saturday Night Fever to
Stylistically and spiritually, American Hustle belongs in the same camp as vintage Scorsese and Saturday Night Fever .
Though American Hustle resembles Martin Scorsese’s Goodfellas and Casino in certain particulars of plot and milieu (but not in its visual style, which is more functional than Scorsese-ecstatic), the real touchstones for its outer-borough shenanigans are Saturday Night Fever and the Sidney Lumet films Serpico and Dog Day Afternoon : manic street operas, in which the arias were Italians and Jews shouting at one another.
Sprucing up like John Travolta getting ready for the disco in “Saturday Night Fever” (which came out in the same period in which this movie is set), Cooper wears a medallion on his exposed chest.
It evokes both the Copacabana scene in “Goodfellas” and “Saturday Night Fever”.
If you used the word “hustle” in the period when this caper movie is set – the “Saturday Night Fever” ’70s – you would have been referring to a dance, not a con.
There’s similar all-in commitment by Bradley Cooper, Amy Adams and Jennifer Lawrence, who all dress and comport themselves as if they wandered off the set of Saturday Night Fever .
He recalls it as a combination of An Officer and a Gentleman and Saturday Night Fever.
That specificity isn’t necessarily a flaw; just a reminder that Ted, like all of writer-director MacFarlane’s produce, traffics heavily in pop culture curios (he even goes so far as to spoof a scene from Flying High; itself already spoofing Saturday Night Fever ).
A disco flashback that seems to be referencing “Saturday Night Fever” is actually recreating the spoof of it in “Airplane!”
Like Family Guy, the film serves up cutaway digressions that are hilarious partly for being so unexpected; a flashback to John's first meeting Lori is cast in the form of homage to the Saturday Night Fever disco dance lampoon in Airplane!
It�s not enough to have a dumb Saturday Night Fever reference plugged into the center of one of the few scenes without the bear.
…doing a parody of John Travolta in"Saturday Night Fever" and while it earns points for nerve, nerve isn't everything in comedy.
Visits with the family â?? Tony Danza has a great time as Jon’s dad â?? evoke “Saturday Night Fever,” while Barbara’s increasing efforts to help Jon improve himself ultimately echo the one-sided endgame of Neil LaBute’s “The Shape of Things.”
There's no dancing in Gordon-Levitt's writing-directing debut, Don Jon, although the movie is so heavily reminiscent—in the good way—of Saturday Night Fever that an arm-swinging paint-can reverie wouldn't be out of place.
Though it’s set in New Jersey rather than Brooklyn, “ Don Jon ” -- written and directed with frenzied energy by Gordon-Levitt -- cheerfully steals from the 1977 “ Saturday Night Fever ” in its tale of an Italian-American stud-slash-dolt who harbors a spark of life that draws him toward the wider world.
The “Saturday Night Fever” of its generation, “Don Jon” addresses a definitive generational issue (young men and Internet porn) in a way that is hilarious, honest, insightful, sexy and not (too) creepy.
A strutting Guido, Jon is part Tony Manero from Saturday Night Fever, part Tony Soprano, and a jot of Jersey Shore'sThe Situation.
Actor Joseph Gordon-Levitt does double duty, making his feature writing/directing debut with this terrific and unusual comedy that taps into this year's cinematic focus on porn while following the basic groove of "Saturday Night Fever."
The omnipresent soundtrack– Nights is a combination of American Graffiti (the prolific use of songs), Goodfellas (the way music is used to move a scene) and Saturday Night Fever (the general feel of the first hour… and look for the Staying Alive reference in the film’s second half)–the soundtrack draws so much attention to the way the film looks, it’s almost like Anderson is telling the viewer the story doesn’t matter too much.
The film, which begins in 1977 (just in time for a dancing "Saturday Night Fever" homage), casually incorporates such milestones as Dirk Diggler's virtual baptism in a hot tub and the New Year's Eve gunfire that ends the 1970s with a bang.
A bracing antidote to the likes of Saturday Night Fever and the whole revolting disco movement, the tone of Boogie Nights is what, in the end, makes it great: it is a story that could only have happened in America (will it play as poorly overseas as the less courageous People vs. Larry Flynt?), and could only have taken place during the peculiar years that straddled two decades and mark, for now, the depths of greed, decadence, self-delusion and lack of taste and sense to which a great and spoiled society could sink.
Arrisco dizer que me senti muito mais imerso e envolvido nesta experiência do que em “Saturday Night Fever“.
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My, does he give it everything—strutting and gliding, along sidewalks and into shops, during the opening credits, as if treading in the red-booted footsteps of John Travolta, at the start of “Saturday Night Fever.”
You can’t help but recall John Travolta’s iconic strut to kick off “Saturday Night Fever.”
Instead of his red-torsoed spider suit, Parker soon wears a black-chested one, and the space goop turns the human Parker into a jerk in a dramatically primitive sequence that has him strutting down the avenue Saturday Night Fever style, snapping his fingers at the babes and combing his hair forward in a downbeat emo mode.
Even more significantly, these impulses spill over into his life as Peter, and he adopts a disco strut, as if he's been invaded by the spirit of the young John Travolta and infected with a heavy dose of Saturday Night Fever.
Raimi shows us how evil Parker’s gotten by having him strut down the street, Saturday Night Fever style, and performing a wacky dance number.
Curtis Hanson’s “8 Mile,” a not-really-but-kind-of biography of Eminem in which the rapper himself stars, is straightforward, rudimentary, old-fashioned moviemaking, cranking away in the service of a story we’ve seen over and over again, from “Rebel Without a Cause” to “Saturday Night Fever.”
Though in reality (and ironically) Eminem did not win his last battle, his story would seem like fine Hollywood fodder (comparisons to "Saturday Night Fever" and "Rocky" are anything but coincidental).
Set in 1995 Detroit, 8 Mile is more or less a whipped creamversion of Eminem's life story, inflated and decorated to fit in withmovies like Saturday Night Fever, Flashdance and PurpleRain.
While it’s not Best Picture material, “8 Mile” succeeds at what itout to do, to show parents and cynics what all the fuss is about (not for Eminem, but for the music as a whole) and to give dedicated hip-hop fans what “Saturday Night Fever” gave to disco fans 25 years ago.
And, not unlike John Travolta in Saturday Night Fever, he's got to prove himself by winning the biggest contest in his miserable little burb.
Like the fighting in "Rocky" and the dancing in "Saturday Night Fever," the rap songs in "8 Mile" possess a redemptive power.
His entrance is highly reminiscent of John Travolta's in Saturday Night Fever, as he walks down the streets of Tokyo to the beat of a Japanese cover of Staying Alive .
At least they have the wit to underscore Pitt’s initial appearance with a Japanese artist’s rerecording of the Bee Gees song Staying Alive, complete with feet walking towards camera straight out of Saturday Night Fever (John Badham, 1977).
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If the hero crushes on a worthy, kickass avatar competitor named Art3mis (the terrific Olivia Cooke, so good in Thoroughbreds), you have to know that he’ll spend his pre-date hours trying on looks that emulate Michael Jackson, Prince, Duran Duran and Buckaroo Banzai and that soon after, he and Art3mis will burn down the disco with a dancing-on-air showstopper that recalls John Travolta and Donna Pescow’s rug-cutting moves in Saturday Night Fever.
Unlike the characters in " Saturday Night Fever ," who were basically just looking for a good time, these upwardly mobile characters are alert to the markers of social status.