Let It Out The Guy Who Didn T Like Musicals Saturday Night Fever: Musical or Movie?

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Saturday Night Fever: Musical or Movie?

In Brooklyn in 1977, it didn’t matter what car a guy drove or where he worked. As long as he’s half handsome and can move on the dance floor, guys like Tony Manero line up the ladies to boogie. In the seventies, this city was an exciting place. New York City is filled with so much opportunity and talent that it’s almost impossible not to get caught up in your dreams.

Saturday Night Fever It begins by introducing the audience to a handsome young man walking down a busy NYC street carrying a gallon of paint. Tony Manero looks like he’s on a mission, but he’s easily followed by his shiny new shoes, hot girls, and sexy, new collared shirts. He decides the shoes aren’t any better than the ones he’s wearing, and after a few cat calls, he turns down the pretty ladies and immediately puts on his shirt: a typical day in the life of a 19-year-old. A paint shop salesman from Brooklyn. The audience soon discovers that Tony wants to wear the shirt to the club on Saturday night, so he asks his boss for an advance on his salary. He is denied but not completely discouraged. He goes home to his parents and his beloved little brother. The parents are a different story, as they worry more about the absent eldest son and the younger father, Frank. Like all teenagers, he has a few arguments with his parents, but it’s clear that he loves his family very much. The audience is then introduced to Tony’s friends. They all smoke, swear, drive like crazy, and take great care of their hair. It’s obvious from the start that Tony is somewhat of a gang leader: girls want to dance with him, guys want to be like him.

Lots of details Saturday Night Fever Related to the classic Hollywood musical. Odyssey 2000, for example, sets the stage for the transition from narrative reality to musical reality. The club is a magical escape with low lighting, fog machines, disco balls and a lighted dance floor. The director uses the angles of the girls in short skirts to create an atmosphere of guilty pleasure. Of particular interest is the image of a woman in an orange skirt circling around. The skirt tells the audience that nothing is off limits in Odyssey 2000, so the camera focuses only on her thighs and a brief glimpse of her panties.

Certain story sequences make Saturday Night Fever believe to be a musical. For example, Tony has problems with both Annette, a girl he has only dated at a dance competition, and Stephanie, an older woman he meets and takes an interest in in Odyssey. The dance floor can address these fundamental issues through movement. As for Annette, Tony doesn’t like the fact that she’s always following him around and insisting on competing with him in dance competitions because she’s not very talented. On the dance floor, Tony can play these emotions without feeling like he’s hurting anyone’s feelings. So when a commotion breaks out and Annette tries to get in the way between Tony and the other girls, she nonchalantly walks away and gets carried away with the urge to dance. Tony, on the other hand, is attracted to Stephanie because he’s a few years older, has a good job, is moving out of Brooklyn, and most importantly, dances well. It plays out physically on the dance floor with Tony and Stephanie moving brilliantly together. They appear to float rather than tread.

On the contrary, Saturday Night Fever breaks away from the classic Hollywood musical, meaning that narrative and musical reality are not completely separated. According to Belton, classical musicals “operate under two different laws.” This is a lie about Saturday Night Fever, as Tony continues to take responsibility for his actions at the club, just as he does in his everyday life. The dance floor may help him escape from the stresses of everyday life, but it’s not a true escape. Tony has no vision of becoming a famous dancer and admits that dancing is something he can only do in a few years.

Saturday Night Fever is a very conservative musical. By the end of the movie, everything will be fine and the audience will be balanced. Frank Jr.’s decision to leave the church helps Tony realize that he should do what makes him happy in life, not what someone else wants or expects him to do. He still doesn’t have any grandiose visions of dancing, but he’s decided he’s not a 20-year veteran of the paint job like most of his colleagues. He and Stephanie decide to just be friends, and he promises her that he can achieve better things than she has.

After all, Saturday Night Fever is almost a musical if nothing else. The atmosphere and dance studio seriousness of Odyssey 2000 creates an alternate scene, but doesn’t really reach an alternate reality. Tony Manero’s world of dance is just like his real life. He may be considered an idol on the dance floor, not at work, but both worlds still operate by the same rules. The audience sees this when Tony can’t get Stephanie to be his girlfriend, no matter how smooth she is on the floor. When it all boils down, Odyssey 2000, the paint shop, the dance studio, the bridge, and every other setting in the movie belong to the same reality.

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