Saturday Night Fever 1977

In the midst of 1970s Brooklyn, Tony Manero reignites Saturday night fever, ruling the dance floor with his strut and charm. By day, he's a humble paint store clerk; by night, he's a disco king in floral finery. As he navigates the narrow world around him, Tony's perspective broadens under the influence of Stephanie, a sophisticated dancer, and his disillusioned priest brother.

In the midst of 1970s Brooklyn, Tony Manero reignites Saturday night fever, ruling the dance floor with his strut and charm. By day, he's a humble paint store clerk; by night, he's a disco king in floral finery. As he navigates the narrow world around him, Tony's perspective broadens under the influence of Stephanie, a sophisticated dancer, and his disillusioned priest brother.

Does Saturday Night Fever have end credit scenes?

No!

Saturday Night Fever does not have end credit scenes.

Ratings


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0%

User Score

IMDb

6.8 /10

IMDb Rating

TMDB

67

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Movie Quiz


Saturday Night Fever Quiz: Test your knowledge on the cultural classic 'Saturday Night Fever' featuring Tony Manero and his journey through the disco scene of the 1970s.

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Plot Summary

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In the opening scene, we meet Anthony “Tony” Manero (John Travolta), a 19-year-old Italian American from the Bay Ridge neighborhood of Brooklyn, New York City. He strolls with confidence through the streets on his way to his job at a local hardware store. His boss, Dan Fusco (Sam Coppola), appreciates Tony’s charm with customers, but he denies Tony’s request for a raise.

At home, Tony lives with his dysfunctional family: his alcoholic and abusive father, Frank Sr. (Val Bisoglio), his overbearing mother, Flo (Julie Bovasso), his non-English speaking grandmother (Nina Hansen), and his younger sister, Linda (Lisa Peluso). As Friday night approaches, Tony prepares for a night out, hastily dining with his family, who constantly compare him unfavorably to his older brother, Frank, Jr., a Catholic priest.

After dinner, Tony joins his close-knit group of friends—Joey (Joseph Cali), Double J (Paul Pape), Gus (Bruce Ornstein), and the shorter Bobby C. (Barry Miller)—along with Annette (Donna Pescow), a local girl yearning for a deeper relationship with him. They all squeeze into Bobby’s car, heading to the 2001 Odyssey discotheque, the vibrant venue where Tony and his friends spend their weekends, often emptying their pockets filled with paychecks.

Inside the club, the atmosphere is electric. Annette, hoping to dance with Tony, quickly realizes her romantic intentions will not be entertained; Tony brushes them off to watch a new girl, Stephanie Mangano (Karen Lynn Gorney), on the dance floor. Retreating to the bar, he is joined by Annette, who proposes that they partner up for the upcoming dance competition. Nevertheless, Tony insists their pairing is purely professional, despite the budding tension. Their night is interrupted when Joey distracts Tony to help bring Double J out of the car, where he is preoccupied.

A recurring element in the storyline includes the Verrazano-Narrows Bridge, a symbolic escape for Tony into a dream of a better life across the waters in suburbia.

The following Saturday morning reveals the friends’ cynicism about their futures, yet Tony receives the unexpected news of a pay raise from Fusco. However, his abusive father dismisses the news, igniting Tony’s frustration as he desperately clings to the recognition he garners from his dancing.

That night, at a dance studio, Annette seeks to move their relationship forward, but once again, Tony insists on keeping things platonic. As the evening progresses, Tony notices Stephanie practicing in a separate room and chases off Annette to pursue her. Their meeting is marked by tension, as Stephanie remains cool towards him.

The next day, Tony, brimming with enthusiasm, asks Stephanie out for coffee; she declines, citing their age difference and her higher aspirations working in the city, yet she agrees to be his partner in the dance competition, insisting their connection will remain non-romantic due to Tony’s perceived immaturity.

As time passes, Tony’s world begins to unravel when he learns Gus has been hospitalized by a Hispanic gang, the Barracudas. Additionally, Bobby C announces his intention to marry, a notion Tony ridicules. Tensions heighten when Tony informs Annette of his new dance partnership with Stephanie.

Their connection deepens during rehearsals; however, Stephanie continues to rebuff any romantic advances, challenging Tony’s pursuit of her affections. In a poignant moment, they dance to the Bee Gees’ “You Should Be Dancing,” capturing the crowd’s admiration and temporarily placing tensions aside.

As challenges and complications churn in their lives, including Bobby C’s existential dilemma about impending fatherhood, the boys find themselves wrestling with their identities and futures, leading to a dark night where Bobby C tragically falls from the bridge during a reckless moment spurred on by peer pressure.

Following the calamity, Tony is left feeling alienated, grappling with the fallout. He makes his way to Stephanie’s, where he finally apologizes and expresses his intention to stay in the city and change his life path. Their relationship matures as they embrace the possibility of friendship, reflecting hope amidst the turmoil. The film culminates in this poignant moment, leaving viewers with the notion that while the path ahead remains uncertain, there’s a sense of new beginnings on the horizon.

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