Saturday Night Fever (1977)

Director:

John Badham

Writers:

Nik Cohn (magazine article "Tribal Rites of the New Saturday Night")
Norman Wexler (screenplay)

Release Date:

16 December 1977 (USA)

Genre:

Drama | Music | Romance

Tagline:

Where do you go when the record is over...

Plot:

A Brooklyn youth feels his only chance to get somewhere is as the king of the disco floor.

Plot Keywords:

Disco | Teenager | Dance | Moving | Melodrama

Awards:

Nominated for Oscar. Another 2 wins & 8 nominations

Cast

John Travolta	...	Tony Manero
Karen Lynn Gorney	...	Stephanie
Barry Miller	...	Bobby C.
Joseph Cali	...	Joey
Paul Pape	...	Double J.
Donna Pescow	...	Annette
Bruce Ornstein	...	Gus
Julie Bovasso	...	Flo
Martin Shakar	...	Frank Jr.
Sam Coppola	...	Dan Fusco (as Sam J. Coppola)
Nina Hansen	...	Grandmother
Lisa Peluso	...	Linda
Denny Dillon	...	Doreen
Bert Michaels	...	Pete
Robert Costanzo	...	Paint Store Customer (as Robert Costanza)
Robert Weil	...	Becker
Shelly Batt	...	Girl in Disco
Fran Drescher	...	Connie
Donald Gantry	...	Jay Langhart
Murray Moston	...	Haberdashery Salesman
William Andrews	...	Detective
Ann Travolta	...	Pizza Girl
Helen Travolta	...	Lady in paint store
Ellen March	...	Bartender
Monti Rock III	...	The Deejay
Val Bisoglio	...	Frank Sr.
rest of cast listed alphabetically:
Roy Cheverie	...	The Wrong Partner (uncredited)
Adrienne King	...	Dancer (uncredited)
M.J. Quinn	...	Dancer (uncredited)
Alberto Vazquez	...	Gang Member (uncredited)

Directed by
John Badham

Writing credits
Nik Cohn		(magazine article "Tribal Rites of the New Saturday Night")
Norman Wexler		(screenplay)

Produced by
Milt Felsen	....	associate producer
Kevin McCormick	....	executive producer
Robert Stigwood	....	producer

Original Music by
Barry Gibb		(as Barry)
Maurice Gibb
Robin Gibb		(as Robin)

Cinematography by
Ralf D. Bode		(director of photography)

Film Editing by
David Rawlins

Casting by
Shirley Rich

Production Design by
Charles Bailey

Set Decoration by
George DeTitta Sr.		(as George Detitta)

Costume Design by
Patrizia von Brandenstein		(as Patrizia Von Brandenstein)

Makeup Department
Max Henriquez	....	makeup artist (as Henriquez)
Joe Tubens	....	hair designer

Production Management
John Nicolella	....	production manager

Second Unit Director or Assistant Director
Joseph Ray	....	second assistant director
Allan Wertheim	....	assistant director

Art Department
James Mazzola	....	property master
William Canfield	....	set dresser (uncredited)

Sound Department
Michael Colgan	....	sound editor
Robert W. Glass Jr.	....	sound re-recording mixer
Les Lazarowitz	....	sound mixer
John T. Reitz	....	sound re-recording mixer
John Wilkinson	....	sound re-recording mixer (as John K. Wilkinson)

Stunts
Paul Nuckles	....	stunt coordinator
Lightning Bear	....	stunts (uncredited)

Camera and Electrical Department
Holly Bower	....	still photographer
James Finnerty	....	key grip
Tom Priestley Jr.	....	camera operator
William Ward	....	gaffer (as Bill Ward)
Gary Muller	....	first assistant camera (uncredited)
Robert Paone	....	second assistant camera (uncredited)

Costume and Wardrobe Department
Jennifer Nichols	....	costumer

Editorial Department
Angelo Corrao	....	assistant editor (uncredited)
Jean-Marc Vasseur	....	assistant film editor (uncredited)

Music Department
John Caper Jr.	....	music editor
David Shire	....	composer: additional music
David Shire	....	music adaptor
Lester Wilson	....	stager: musical numbers
Dan Wallin	....	score mixer (uncredited)

Other crew
Arlene Albertson	....	production office coordinator
Lorraine Fields	....	assistant choreographer
Jimmy Gambina	....	technical consultant (as James Gambina)
Gary Kalkin	....	unit publicist
Lloyd Kaufman	....	location executive
Carl Lotito	....	assistant: Mr. Stigwood
Joy McMillan	....	assistant: Mr. Stigwood
Colleen Murphy	....	assistant: Mr. Badham
Jo Jo Smith	....	dance consultant (as Jo-Jo Smith)
Ron Stigwood	....	assistant: Mr. Stigwood (as Ronald Stigwood)
Renata Stoia	....	script supervisor
Lester Wilson	....	choreographer
Deney Terrio	....	dance instructor (uncredited)

Production Companies

• Robert Stigwood Organization (RSO)

Distributors

• Paramount Pictures (1977) (USA) (theatrical)
• Cinema International Corporation (C.I.C.) (1978) (Japan) (theatrical)
• Cinema International Corporation (CIC) (1978) (Netherlands) (theatrical)
• United International Pictures (2004) (Japan) (theatrical)
• American Broadcasting Company (ABC) (1980) (USA) (TV) (broadcast premiere)
• CIC Vídeo (19??) (Brazil) (VHS)
• CIC-Taft Home Video (Australia) (VHS)
• Paramount Filmes do Brasil (2002) (Brazil) (DVD)
• Paramount Home Entertainment (1999) (Netherlands) (VHS)
• Paramount Home Entertainment (2002) (Netherlands) (DVD)
• Paramount Home Video (2002) (Canada) (DVD)
• Paramount Home Video (19??) (USA) (video) (laserdisc)
• Paramount Home Video (2002) (USA) (DVD)

Other Companies

• Cherokee Studios  music recorded at
• Cirrus Productions  main title designed by
• International Alliance of Theatrical Stage Employees (IATSE)  this picture made under the jurisdiction of (as I.A.T.S.E.)
• Litelab  discotheque lighting provided by (as Litelab of New York)
• Pro Arts  Farrah Fawcett poster compliments of
• RSO Records  original soundtrack album on (as RSO Records and Tapes)
• Todd/Champion Ltd.  extras casting (as Todd-Champion Ltd.)

Also Known As:

Saturday Night (USA) (working title)
Tribal Rites of Saturday Night (USA) (working title)

MPAA:

Rated R for strong language, sexuality/nudity and some drug content. (2002 version)

Runtime:

118 min | USA:113 min (PG version)

Country:

USA

Language:

English | Italian

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

Spain:18 | Canada:14A (re-rating) | Italy:VM14 (uncut) | Iceland:L | Netherlands:16 (orginal rating) | Brazil:12 | New Zealand:R16 | UK:A (re-rating) (1979) (cut) | UK:X (original rating) | Argentina:16 | Australia:MA (re-rating) | Australia:R | Canada:13+ (Quebec) | Canada:PA (Manitoba) | Chile:18 | Finland:K-16 | France:-12 | Malaysia:(Banned) | Netherlands:AL | Norway:16 (cut) | Norway:18 | Peru:18 | Singapore:M18 | South Korea:18 | Sweden:11 | UK:18 (video rating) | UK:PG (video rating) (cut) | USA:PG (edited version) | USA:R | West Germany:12 | Canada:A (Nova Scotia) (edited US version) | Canada:R (original rating)

Filming Locations:

221 79th Street, Bay Ridge, Brooklyn, New York City, New York, USA

Company:

Robert Stigwood Organization (RSO)

Trivia:

John Travolta originally wanted his disco suit to be black, until it was pointed out that in the darkened disco, his co-star's red dress would make her easier to see than him.

Goofs:

Boom mic visible: When Tony talks with Stephanie in her apartment after the "lonesome subway ride" scene.

Quotes:

Tony Manero: You know what Gus, I feel like breaking your broken legs!

Movie Connections:

Referenced in Making Soundtrack History (2007) (V)

Soundtrack:

Barracuda Hangout

A masterpiece from the greatest era of American cinema.

There are people who have seen this movie that have not been stoked by it (see some user comments). Personally I can't understand this. I know that there are people who have different tastes, and maybe some younger viewers will not be able to relate to it, or appreciate it. However, at the risk of sounding like a dick, I can confidently say that those are people I would not want to know anyways. This is a film that does what great films are supposed to do; that is to transcend our daily lives and bring us joy. There are a few films that can be called masterpieces because all the different film elements that are brought together have a unique quality and vision and the final result is something more special than the sum of the elements themselves. In a nutshell, this is a simple story about a young Italian Brooklyn man, Tony Manero, from humble roots with a gift for dancing who dreams of something better against all odds. He escapes from it all out on the dance floor, basking in the glow of the disco ball, and the frivolous, moving dance music. He meets another young woman at the danceclub, Stephanie Modano, played by an underrated Karen Lynn-Gorney, who is equal to him in dance ability, and, more importantly, in desiring a better life. The two struggle together, and against each other, in their pursuit of winning a dance contest that may spur on their dreams.

A simple story yes. One you've seen before yes. But after that, there is no other film that can touch it. John Travolta, as Tony, was in his prime, giving a performance that is so likeable because he is so normal. Who can't relate to a character who is so honest, so cool, so goofy, so conflicted; who has talent but doesn't get recognized by the people who should recognize him, like his family, only by his friends whom he knows deep down are all creeps? This is all of us!

The soundtrack features some of the best disco music ever made, in terms of making you feel joyous, and impervious to the world's problems. Mostly contributed by The Bee Gees, as well as others, it is the essential element that makes the whole thing work.

John Badham's direction is even; giving the audience plenty of music and show stopping musical bits, yet unafraid to lure you back to the grim reality of what our hero is always up against. But it's never heavy handed. The story is equal parts dramatic, comedic, exhilirating, and pensive, and moves along just as rhythmically as the music.

In the end, literally as well as figuratively, Tony is more alone and unsure than ever in his ever changing world. And so it makes sense that he reaches out to Stephanie for love and support; someone that has at least a little understanding of who he really is, even if they can't be lovers. Simple, realistic, beautiful. The 70's was the true golden age of American cinema. It was the era of the auteur. Great minds like Scorsese, Coppola, Lucas, Spielberg, Badham, and so forth had for a decade or so, the ability to make truly visionary films; in the sense that they had a lot of creative power to express themselves devoid of studio pressure, political correctness, marketing tie-ins, and big budget, sensory offending, special effects. They laid it on the line. And we get to enjoy it for eternity.

Attention younger viewers, don't let the distorted lingering stereotype fool you. This isn't a "cheesy film" with John Travolta dancing like a clown to music that "sucks". It is as good a film as you'll see, if you can allow yourself to appreciate it as a real film. Disco music was once cutting edge before it "sucked". John Travolta was actually a good dancer and actor, and the story really does have depth.