THis film sneaks up on you - there is something unsettling and powerful about it. The lead performance is raw, real and sad. This guy is a low street thief who has a circle of whores and other lowlifes around him. It doesn't matter if you know a bit about the horrible regime of General Pinochet who was in power when the film is set - 1978 but the movie is a metaphor for this brutal dictator's control of the country - insane behavior creating insane results. The lead guy is obsessed with Travolta's film Saturday Night Fever - he watches it in a movie theatre endlessly - memorizing the dialogue and all of Travolta's moves and dance steps. A Chile TV Variety show has celebrity look-a-like contests and he was to enter and win the Tony Manero contest - white suit and all. This movie feels like a documentary - and there are moments of calm followed by shocking displays of violence. I can see that this film might not be for everyone but I found it to be incredibly powerful. I disagree with the summary on this page though that describes the guy as a "serial killer" - he is not a serial killer - he just makes sure to get anyone out the way who stands between him and his obsession.
28 Reviews
Low life brutality and sleazy aspirations in a reign of terror
Chris Knipp18 September 2008
Warning: Spoilers
The protagonist of this film from Chile set in 1978 Santiago at the height of Augusto Pinochet's reign of terror is a murderer and petty thief whose only goal in life is to dance like John Travolta's character Tony Manero in Saturday Night Fever. It's already a year later, but Fever's still playing and Raul (Alfredo Castro) goes to watch in an empty theater, repeating Travolta's lines with a heave accent and mimicking his arm gestures when he dances. Raul is the lead dancer, if it makes any sense to say that, in a shabby cantina where an older woman, a younger woman, his middle-aged girlfriend, and a youth all seem to adore him even though he is tired and fifty-two and can't get an erection any more. Outside it's a quietly terrifying world where soldiers patrol the streets in open trucks with rifles raised and plainclothes agents stop people at random and you can get shot for being out of place or having political fliers.
Early on Raul beats an old woman he's just taken home after she's been mugged. He seems to have killed her, just to get her little color TV. He kills again, each time without any qualms, to get something. He smashes the cantina stage floor and is bargaining with a dealer in loose building materials for glass bricks to make the stage floor like the movie disco, lit from below. He also wants to compete for "Tony Manero of Chile" on a little TV contest show.
At times Larrain's film seems crude and clumsy, but it's nonetheless hard to get out of your head. Obviously Raul's behavior is a metaphor for the morally bankrupt-from-the-start Pinochet regime and the film does an excellent job of conveying the absolute sleaziness of absolutely everything--a terrible world pushed into existence by the CIA and perhaps now dominated by slick new US products like the Travolta picture. Just as Raul will kill to get his pseudo-disco floor effect (which is totally shoddy), the others on his little neighborhood dance team will betray each other to stay in good with the despicable regime. Raul walks away from his heinous crimes with no fear of capture; the regime is busy perpetrating its own crimes and its own terror.
The concentration on the goings and comings of Raul give the picture unity, and the little cantina crew has a classic quality. This is down-market, black-humor Fellini. Wilma (Elsa Poblete) runs the place. She claims to adore Raul and want to run away to him (to where?) He's stuck with Cony (Amparo Noguera), but now prefers her young, possibly pregnant daughter Pauli (Paola Lattus). A willing helper but potential threat is the young man in the group, Goyo (Hector Morales), who is involved in anti-Pinochet activities, but also wants to compete in the tacky talent contest for the Tony Manero prize against Raul. Raul sees to that, in the crudest and sleaziest manner possible.
One day Raul goes to the movie to see Saturday Night Fever and it's been replace with Grease. You can bet there's hell to pay. It feels like the movie will stoop to anything, but then, so would a dictator. The raw, hand-held camera work helps maintain the down-and-dirty intensity, as does faded, dingy-looking color. As Leslie Felprin notes in the Variety review, the camera follows around Raul as doggedly as the Dardennes have done in some of their films, but without any of the humanism or positive endings the Dardennes would provide. The action has a picaresque quality that makes it seem plausible: you just watch in mild horror to see what happens next. To top it all off, Alfredo Castro, in the brave and haunting lead performance, looks a lot like Al Pacino--a Pacino who hasn't been prettied up and will never see a fat paycheck.
This is Pablo Larrain's second feature, and a selection of the New York Film Festival of 2008. It was part of the Directors Fortnight series at Cannes this year. Theatrical opening in France December 17, 2008.
Early on Raul beats an old woman he's just taken home after she's been mugged. He seems to have killed her, just to get her little color TV. He kills again, each time without any qualms, to get something. He smashes the cantina stage floor and is bargaining with a dealer in loose building materials for glass bricks to make the stage floor like the movie disco, lit from below. He also wants to compete for "Tony Manero of Chile" on a little TV contest show.
At times Larrain's film seems crude and clumsy, but it's nonetheless hard to get out of your head. Obviously Raul's behavior is a metaphor for the morally bankrupt-from-the-start Pinochet regime and the film does an excellent job of conveying the absolute sleaziness of absolutely everything--a terrible world pushed into existence by the CIA and perhaps now dominated by slick new US products like the Travolta picture. Just as Raul will kill to get his pseudo-disco floor effect (which is totally shoddy), the others on his little neighborhood dance team will betray each other to stay in good with the despicable regime. Raul walks away from his heinous crimes with no fear of capture; the regime is busy perpetrating its own crimes and its own terror.
The concentration on the goings and comings of Raul give the picture unity, and the little cantina crew has a classic quality. This is down-market, black-humor Fellini. Wilma (Elsa Poblete) runs the place. She claims to adore Raul and want to run away to him (to where?) He's stuck with Cony (Amparo Noguera), but now prefers her young, possibly pregnant daughter Pauli (Paola Lattus). A willing helper but potential threat is the young man in the group, Goyo (Hector Morales), who is involved in anti-Pinochet activities, but also wants to compete in the tacky talent contest for the Tony Manero prize against Raul. Raul sees to that, in the crudest and sleaziest manner possible.
One day Raul goes to the movie to see Saturday Night Fever and it's been replace with Grease. You can bet there's hell to pay. It feels like the movie will stoop to anything, but then, so would a dictator. The raw, hand-held camera work helps maintain the down-and-dirty intensity, as does faded, dingy-looking color. As Leslie Felprin notes in the Variety review, the camera follows around Raul as doggedly as the Dardennes have done in some of their films, but without any of the humanism or positive endings the Dardennes would provide. The action has a picaresque quality that makes it seem plausible: you just watch in mild horror to see what happens next. To top it all off, Alfredo Castro, in the brave and haunting lead performance, looks a lot like Al Pacino--a Pacino who hasn't been prettied up and will never see a fat paycheck.
This is Pablo Larrain's second feature, and a selection of the New York Film Festival of 2008. It was part of the Directors Fortnight series at Cannes this year. Theatrical opening in France December 17, 2008.
Tony Manero is Chile
mehmet_kurtkaya4 May 2009
Warning: Spoilers
Art is sometimes not capable enough to convey reality, as in the saying "if it is unimaginable it is real". Just like 9/11 could not have been imagined in a movie, novel or any kind of fiction, the horrors of Chile under the CIA backed Pinochet regime cannot be described or told about adequately in fiction. Maybe a documentary by Patricio Guzmán, Salvador Allende (2004) would be a better choice to grasp the state terror Chile has gone through.
Still Tony Manero does have its own merits in describing the era, not only in the body of its lead character Raul, impersonator of John Travolta's character in Saturday Night Fever, but also other people living in this run-down neighborhood. These people are totally lost not only in their poverty but their submission to the fascist state.
Raul is a serial killer who kills spontaneously sometimes with no other motivation than stealing a color TV or not liking someone. His only delight in life is to imitate American movie character Tony Manero. Women around admire him but he is impotent, still he tries to have sex.
In short he is Chilean majority of that period. And during the whole movie the viewer is expecting a police officer to come in the neighborhood to investigate the killings, but that never happens. He goes unnoticed as there is a much more dangerous and potent serial killer out there!
The movie does a great job in setting the mood of the times, pale and shaky.
The lead actor is reminiscent of Al Pacino and is quite good, so is overall acting. However the script slightly falters at the end which happens to be Hollywoodean. Obviously this movie does not need an end at all!
Still Tony Manero does have its own merits in describing the era, not only in the body of its lead character Raul, impersonator of John Travolta's character in Saturday Night Fever, but also other people living in this run-down neighborhood. These people are totally lost not only in their poverty but their submission to the fascist state.
Raul is a serial killer who kills spontaneously sometimes with no other motivation than stealing a color TV or not liking someone. His only delight in life is to imitate American movie character Tony Manero. Women around admire him but he is impotent, still he tries to have sex.
In short he is Chilean majority of that period. And during the whole movie the viewer is expecting a police officer to come in the neighborhood to investigate the killings, but that never happens. He goes unnoticed as there is a much more dangerous and potent serial killer out there!
The movie does a great job in setting the mood of the times, pale and shaky.
The lead actor is reminiscent of Al Pacino and is quite good, so is overall acting. However the script slightly falters at the end which happens to be Hollywoodean. Obviously this movie does not need an end at all!
The John Travolta Impersonator
DogePelis201510 July 2021
Dignity and brutality
paul2001sw-11 July 2012
For a hit movie, 'Saturday Night Fever' is a surprisingly bleak and serious film; but not quite as dark as 'Tony Manero', a Chilean movie about a criminal whose life dream is to emulate the character played by John Travolta in the earlier film. Both the anti-hero, and the society he lives in (it's the Chile of Augusto Pinochet) are pretty rotten, and the film cuts neither any slack. Indeed, behind the black comedy, this is a portrait of a civilisation on the brink of collapse through a loss of respect for basic human dignity: the fake Manero desperately seeks dignity for himself in his act, but shows no respect for anyone else's. It's compelling, convincing, and yet, as a story, ever so slightly pointless: 'Satruday Night Fever' had its own redemption narrative, and while one can mock this as Hollywood softening, without any such story a film can seem slightly devoid of direction: it's hard to even imagine what a happy ending would have been for 'Tony Manero', so hopeless is the initial premise. It's still a good film; and fundamentally a political one, even though the politics is all implicit.
Without much in the way of a Bee Gee in sight, this unnerving Chilean film about a melting pot of hatred; oppression and obsession makes for fascinating viewing.
johnnyboyz27 May 2011
If the name Tony Manero means anything to anyone at all, then it will be because of a rather famous breakthrough role on behalf of a certain American actor named John Travolta, whose performance as said character in 1977's Saturday Night Fever saw him propelled into the acting limelight as this fascinating negotiator of the dance floor and charismatic presence when dialogue and exchange was required. With the release of this, a hard boiled Chilean drama directed by a certain Pablo Larraín and arriving with it the title of Tony Manero, the name threatens to take on a new found sense of identity or initial 'link' with audiences; much like the musical number "Singing in the Rain" may have done with some once Kubrick got his hands on it. Very few films that I can recall have had the ability to have you symptomatically tapping your feet at a catchy tune accompanying the somewhat elated feeling brought about by the grace of an on screen dance performance, whilst forcing you to watch proceedings through the spindly cracks that formulate out of having all of your fingers pressed together due to not really being able to watch. This Chilean film about idolisation and the impact of Western culture on foreign lands is one of them; a fascinating, a positively nihilist, take on the daring to dream whilst under a proverbial strain and is a shattering experience.
For the most part, the film plays out like this really stripped down; really rather grotty look at poor Chileans living under the tyranny of the then Pinochet-led government of the early 1980s, that just so happens to encompass a bi-polar man who's on the cusp of psychopathy and has an obsession for Travolta's aforementioned character. At the core of it is lead Raúl Peralta (Castro); a man operating within certain circles encompassing family members and contacts down at the oft-frequented local dancing club, but a man with a dangerous obsession of both the titular character of years gone by and the film from whence he comes. Peralta cuts a worn, ominous figure; a man with the mannerisms and understated sense of both threat and anger to that of Travis Bickle, an accent with a chiselled complexion plus general sense of menace to that of Pacino's Scarface anti-hero lead Tony Montana. A peek into his mind reveals the uncontrollable desire to lash out at those unsuspecting and vulnerable, the beating to death of an elderly woman, whose company he briefly shares whilst in her home, giving way to an unfathomable sense of anguish seeing him eventually take measures to make sure that her now orphaned pet cat will not remain alone and therefore starve.
Peralta's dream is to dance professionally, this unfriendly; sleazy; whore dwelling lowlife whom, at one point, loots the body of a dead man because it benefits him, desires to branch off and find success within a practice often attributed with characteristics of prouesse, elegance and splendor. Thinking he's ready for the challenge, we observe him in the opening scenes attend a televised dance competition at a studio which sees him not only turn up on the incorrect date alluding to more dangerous issues there, but completely go against rules and regulation that are established upon his arrival by heading on in and snooping around anyway, thus paying sly hint to his inability to see things any other which way but normally.
Peralta's sometimes ventures to the cinema, a local picture house showing that of John Badham's then relatively recent Saturday Night Fever to sparse audiences complete with subtitles. He breezes into the various showings at whatever time he wishes; usually just in time to catch one of the many disco-set scenes thus creating the illusion of actually walking into a disco proper ready to strut one's moves thus nicely syncing up with that of the on screen characters. A scholar of the film, Peralta is able to quote large chunks of dialogue in a stone faced and mechanical fashion; sitting there acting out the passages of play filling in for Travolta's dialogue and getting caught up in a film all about the distinction between characters both inside and outside of the dance hall, much in the same way Tony Manero goes on to explore its own lead's predicament both within his fantasy of wanting to dance and playing Travolta's part, as well as that of his true to life surroundings.
The film pays homage to that notion of Travolta's very specific character from that very specific 1977 film being such a mover and such the focal point he was; Manero was a man at the centre of everybody's diegetic attention, an attention which matched up with that of the audience's, somebody whom the camera went out of its way to embrace or to incorporate whilst they danced to imbue proceedings with a sense of objectification. Peralta's gradual obsession with Manero might be read into as being born out of this, his utilisation of dance as a means of escaping the dishevelled living conditions he inhabits going in perfect tandem with that of Manero's own use of the dance hall as a place he can become somebody else; the injustice which later befalls him an injustice essentially something born out of the lack of democratic procedure in regards to voting, something reflective in the real Chile where politics and freedom and such do not link up so easily. The film's chugs through to a disturbing final shot, a composition hinting at Peralta's now newfound sense of coming to terms with the nature of his world of escape merely an extension of the unfair reality he sought to get away from; on the other hand, a shot alluding as much to a man already beneath the line of sanity so much so that he really doesn't care either way. Larraín's hard hitting drama makes for fantastic watching; the results of which are some morbid, gripping viewing.
For the most part, the film plays out like this really stripped down; really rather grotty look at poor Chileans living under the tyranny of the then Pinochet-led government of the early 1980s, that just so happens to encompass a bi-polar man who's on the cusp of psychopathy and has an obsession for Travolta's aforementioned character. At the core of it is lead Raúl Peralta (Castro); a man operating within certain circles encompassing family members and contacts down at the oft-frequented local dancing club, but a man with a dangerous obsession of both the titular character of years gone by and the film from whence he comes. Peralta cuts a worn, ominous figure; a man with the mannerisms and understated sense of both threat and anger to that of Travis Bickle, an accent with a chiselled complexion plus general sense of menace to that of Pacino's Scarface anti-hero lead Tony Montana. A peek into his mind reveals the uncontrollable desire to lash out at those unsuspecting and vulnerable, the beating to death of an elderly woman, whose company he briefly shares whilst in her home, giving way to an unfathomable sense of anguish seeing him eventually take measures to make sure that her now orphaned pet cat will not remain alone and therefore starve.
Peralta's dream is to dance professionally, this unfriendly; sleazy; whore dwelling lowlife whom, at one point, loots the body of a dead man because it benefits him, desires to branch off and find success within a practice often attributed with characteristics of prouesse, elegance and splendor. Thinking he's ready for the challenge, we observe him in the opening scenes attend a televised dance competition at a studio which sees him not only turn up on the incorrect date alluding to more dangerous issues there, but completely go against rules and regulation that are established upon his arrival by heading on in and snooping around anyway, thus paying sly hint to his inability to see things any other which way but normally.
Peralta's sometimes ventures to the cinema, a local picture house showing that of John Badham's then relatively recent Saturday Night Fever to sparse audiences complete with subtitles. He breezes into the various showings at whatever time he wishes; usually just in time to catch one of the many disco-set scenes thus creating the illusion of actually walking into a disco proper ready to strut one's moves thus nicely syncing up with that of the on screen characters. A scholar of the film, Peralta is able to quote large chunks of dialogue in a stone faced and mechanical fashion; sitting there acting out the passages of play filling in for Travolta's dialogue and getting caught up in a film all about the distinction between characters both inside and outside of the dance hall, much in the same way Tony Manero goes on to explore its own lead's predicament both within his fantasy of wanting to dance and playing Travolta's part, as well as that of his true to life surroundings.
The film pays homage to that notion of Travolta's very specific character from that very specific 1977 film being such a mover and such the focal point he was; Manero was a man at the centre of everybody's diegetic attention, an attention which matched up with that of the audience's, somebody whom the camera went out of its way to embrace or to incorporate whilst they danced to imbue proceedings with a sense of objectification. Peralta's gradual obsession with Manero might be read into as being born out of this, his utilisation of dance as a means of escaping the dishevelled living conditions he inhabits going in perfect tandem with that of Manero's own use of the dance hall as a place he can become somebody else; the injustice which later befalls him an injustice essentially something born out of the lack of democratic procedure in regards to voting, something reflective in the real Chile where politics and freedom and such do not link up so easily. The film's chugs through to a disturbing final shot, a composition hinting at Peralta's now newfound sense of coming to terms with the nature of his world of escape merely an extension of the unfair reality he sought to get away from; on the other hand, a shot alluding as much to a man already beneath the line of sanity so much so that he really doesn't care either way. Larraín's hard hitting drama makes for fantastic watching; the results of which are some morbid, gripping viewing.
A film that makes Saturday Night Fever seem about as threatening as a school disco.
markgordonpalmer6 June 2011
Warning: Spoilers
TONY MANERO (2008/ Chile - directed by Pablo Larrain) *SOME SPOILERS FOLLOW*
Raul is a man just beyond middle-aged; a little bit past his prime. Not very good at anything. Except maybe dancing. Trouble is, Raul's knees aren't too happy these days about the kind of disco dance moves they are forced to take the strain of. But that's not going to stop Raul from doing what he now knows he was born to do - dance the disco!
Meet Raul Peralta - a man looking for a way to escape from a life where all he has to rely on is mimicking the John Travolta role of iconic dancing king Tony Manero in Saturday Night Fever. For a living. Or for a chance of a living. It's a shot at stardom, doomed to fail, but what else is there to rely on? The dark days of the Pinochet dictatorship hang heavy in daily life all around him; his heart is blackened, and the soot falls heavy on the white suit he wears to the dance class. But the dancefloor holds more hope than any of the the streets this man walks down, any of the bedrooms he finds himself stumbling into.
Raul spends all he can on cheap and chipped glass tiles to make a pathetic little disco dancefloor to impress his fellow dancers with; a group of wide-eyed and hope-drained followers who see the white suit Raul wears as evidence of freedom; of a better life.
Raul's love life is equally bleak; though he does at least have one, and seeks occasional company in the arms of his dull-eyed but willing girlfriend and later in the arms and untidy bed of his girlfriend's daughter, a girl conspiring against the Pinochet regime but ultimately doomed to lose everything in every way possible. Raul is seen walking the perma-strutting daughter through the living room to the bedroom after a few too many drinks; right past her watching friends and right in front of his so sad-eyed but strangely passive girlfriend, in a quite unsettling and shocking scene.
Raul's obsession with the film Saturday Night Fever, playing daily at the local picturehouse, is absolute. It's freedom and escape. But in the end; it's a curse and a slippery slope into total immorality. In real life, in Raul's reality - old women get mugged; projectionists get beaten to a pulp when they play (horror of horrors) the film Grease, where Travolta is no longer the harder-edged Tony Manero character, but a character all bright and breezy and wearing a different outfit, with different dance moves.
Raul has devoted too many days of his life to practising the Manero dance moves; to wearing the exact same outfits; into trying to win the Tony Manero of Chile competition, to stop now. Trouble is - he's not a very good Tony Manero. He's more Al Pacino in Dog Day Afternoon or Scarface; more Tony Montana than Manero. In the original Saturday Night Fever, a girlfriend of Travolta's character compares him to Pacino after kissing him on the dancefoor: "Ohh, I just kissed Al Pacino" she croons - a nice touch and neat link to the original movie.
Raul can dance - but not that well. He slips and stumbles at key moves; his knee giving way. The lingering camera doesn't zoom in on any reaction when the inevitable, literal fall - or slip from assumed perfection, comes. Raul carries on with the dance - and the camera does too. In a way, the camera tries to hide what Raul is also hiding; as if we may not notice. But we do. This is masterly direction from Pablo Larrain.
In the last reel there's a chance it may not all end in absolute failure for Raul. A decision in the final stages of the dance competition could go either way, with just two contenders up for the crown at the last dance saloon -could Raul actually win? Is he the 'new best Tony Manero impersonator' in Chile? He will either come first or second. But a runner-up is just another nobody. When asked what his profession is at the dance contest, Raul looks puzzled: "This" he replies, without seeing the irony.
Raul may do something unexpected and nasty to the suit of a rival (in a scene that is really quite disgusting and puts to bed any hope that Raul isn't as depraved as he may at first appear), but it's his own white disco suit that is forever ruined; that will forever be missing the right number of buttons to make him a true Manero impersonator - a suit that is already splashed with the blood of the innocent.
The performance of Alfredo Castro as Raul is heart-wrenching, absolute and intense. It's real, without the barriers of a performance to distract; he is Raul, in the same way he will never be Tony Manero.
This remains a film that refutes the beauty and passion in hardship; denies its existence; embraces the blackest humour and lives the darkest of days. There's no bad boy made good moral to be found here. No pot of gold or winning ticket at the end of this rainbow; this great glass elevator is chipped and broken and going nowhere.
If you thought the real Tony Manero had it bad, you ain't seen nothing yet! by ~ Mark Gordon Palmer
Raul is a man just beyond middle-aged; a little bit past his prime. Not very good at anything. Except maybe dancing. Trouble is, Raul's knees aren't too happy these days about the kind of disco dance moves they are forced to take the strain of. But that's not going to stop Raul from doing what he now knows he was born to do - dance the disco!
Meet Raul Peralta - a man looking for a way to escape from a life where all he has to rely on is mimicking the John Travolta role of iconic dancing king Tony Manero in Saturday Night Fever. For a living. Or for a chance of a living. It's a shot at stardom, doomed to fail, but what else is there to rely on? The dark days of the Pinochet dictatorship hang heavy in daily life all around him; his heart is blackened, and the soot falls heavy on the white suit he wears to the dance class. But the dancefloor holds more hope than any of the the streets this man walks down, any of the bedrooms he finds himself stumbling into.
Raul spends all he can on cheap and chipped glass tiles to make a pathetic little disco dancefloor to impress his fellow dancers with; a group of wide-eyed and hope-drained followers who see the white suit Raul wears as evidence of freedom; of a better life.
Raul's love life is equally bleak; though he does at least have one, and seeks occasional company in the arms of his dull-eyed but willing girlfriend and later in the arms and untidy bed of his girlfriend's daughter, a girl conspiring against the Pinochet regime but ultimately doomed to lose everything in every way possible. Raul is seen walking the perma-strutting daughter through the living room to the bedroom after a few too many drinks; right past her watching friends and right in front of his so sad-eyed but strangely passive girlfriend, in a quite unsettling and shocking scene.
Raul's obsession with the film Saturday Night Fever, playing daily at the local picturehouse, is absolute. It's freedom and escape. But in the end; it's a curse and a slippery slope into total immorality. In real life, in Raul's reality - old women get mugged; projectionists get beaten to a pulp when they play (horror of horrors) the film Grease, where Travolta is no longer the harder-edged Tony Manero character, but a character all bright and breezy and wearing a different outfit, with different dance moves.
Raul has devoted too many days of his life to practising the Manero dance moves; to wearing the exact same outfits; into trying to win the Tony Manero of Chile competition, to stop now. Trouble is - he's not a very good Tony Manero. He's more Al Pacino in Dog Day Afternoon or Scarface; more Tony Montana than Manero. In the original Saturday Night Fever, a girlfriend of Travolta's character compares him to Pacino after kissing him on the dancefoor: "Ohh, I just kissed Al Pacino" she croons - a nice touch and neat link to the original movie.
Raul can dance - but not that well. He slips and stumbles at key moves; his knee giving way. The lingering camera doesn't zoom in on any reaction when the inevitable, literal fall - or slip from assumed perfection, comes. Raul carries on with the dance - and the camera does too. In a way, the camera tries to hide what Raul is also hiding; as if we may not notice. But we do. This is masterly direction from Pablo Larrain.
In the last reel there's a chance it may not all end in absolute failure for Raul. A decision in the final stages of the dance competition could go either way, with just two contenders up for the crown at the last dance saloon -could Raul actually win? Is he the 'new best Tony Manero impersonator' in Chile? He will either come first or second. But a runner-up is just another nobody. When asked what his profession is at the dance contest, Raul looks puzzled: "This" he replies, without seeing the irony.
Raul may do something unexpected and nasty to the suit of a rival (in a scene that is really quite disgusting and puts to bed any hope that Raul isn't as depraved as he may at first appear), but it's his own white disco suit that is forever ruined; that will forever be missing the right number of buttons to make him a true Manero impersonator - a suit that is already splashed with the blood of the innocent.
The performance of Alfredo Castro as Raul is heart-wrenching, absolute and intense. It's real, without the barriers of a performance to distract; he is Raul, in the same way he will never be Tony Manero.
This remains a film that refutes the beauty and passion in hardship; denies its existence; embraces the blackest humour and lives the darkest of days. There's no bad boy made good moral to be found here. No pot of gold or winning ticket at the end of this rainbow; this great glass elevator is chipped and broken and going nowhere.
If you thought the real Tony Manero had it bad, you ain't seen nothing yet! by ~ Mark Gordon Palmer
Obsession
lastliberal18 June 2010
Warning: Spoilers
Some obsessions are OK, but if your obsession, at 52 years old, is to be the Tony Manero (Saturday Night Fever) of Chile, then you might want to get a life.
Alfredo Castro is Raúl, a man obsessed with achieving his goal, and a man who lets nothing stand in his way. He is oblivious to the goings on in Pinochet's Chile.
He is also obvious to his girlfriend's (Amparo Noguera) attempts at intimacy. He is focused on one thing, and excludes all else.
A serial killer, and a thief, Raúl even takes his girlfriend's daughter (Paola Lattus) upstairs to have sex with her watching. It is as bizarre as the first sex scene. He just can't do things normally.
When he hears that Goyo (Héctor Morales) is going to compete against him, he defecates on his white suit.
It was a gritty film that shows the price of obsession, and the grim reality of the country of Chile under Pinochet, not in a documentary style, but fictionally.
Alfredo Castro is Raúl, a man obsessed with achieving his goal, and a man who lets nothing stand in his way. He is oblivious to the goings on in Pinochet's Chile.
He is also obvious to his girlfriend's (Amparo Noguera) attempts at intimacy. He is focused on one thing, and excludes all else.
A serial killer, and a thief, Raúl even takes his girlfriend's daughter (Paola Lattus) upstairs to have sex with her watching. It is as bizarre as the first sex scene. He just can't do things normally.
When he hears that Goyo (Héctor Morales) is going to compete against him, he defecates on his white suit.
It was a gritty film that shows the price of obsession, and the grim reality of the country of Chile under Pinochet, not in a documentary style, but fictionally.
Dark, disturbing, sad, quirky and foreign - i loved it
CrazyRaccoon7772 July 2011
Warning: Spoilers
This film is very good in my opinion.
I like odd, daring, crazy movies like this sometimes - not just the big famous titles.
The film kind of sneaks up on you though as to just how dark and sad it is - so do be warned if you are easily shocked.
The film is set during Pinochet's rule in Chile and the main character Raul is a dark, brooding, pitiless, frustrated guy who is obsessed with Sat Night Fever. He is around 50 but acts younger.
He sees himself as Tony Manero - (John Travolta) and watches the movie often.
I think the obsession is due not only to the fact that the guy has a screw loose but that he is dreaming of and projecting a better life than the reality of life under a curfew style oppressive regime in Chile.
The cool thing to me is that Raul looks like Al Pacino not Travolta and the character has more in common with Tony Montana (Scarface) as you will see when you watch.
Along with some other younger characters Raul has formed a dance act at a local bar/ cafe who are rehearsing to do some musical numbers from the film SNF.
We quickly see that the lead actor Raul is not just a petty thief but actually a serial killer who will do anything to get by.
There are constant appearances and references to Pinochet's agents and some of Raul's circle are involved in protesting and printing of leaflets so are often surveilled.
There is some strong sexual content in this but Raul seems a bit impotent and kinda only really gets off on the movie Sat Night Fever.
He seems to be idolised though by all the woman around him regardless of the fact that he cannot meets their needs.
There is one awful scene where Raul uses the white suit of another person as a toilet - to prevent him being a rival in the Tony Manero look alike competition - so just be warned it is hard to stomach at times and not for the faint hearted.
There are some bits I found funny too its not all dark but overall its just odd surreal and slightly unnerving throughout perhaps how life was in Chile during that regime.
Its like you are sucked into the dream/nightmare or quest of this person and you want it to end but also want to see more.
I think one reviewer said the ending was not good - I thought it was cool and it seems obvious what will happen next to me.
Personally I love films like this as I stated but don't think it will appeal to everybody.
I like odd, daring, crazy movies like this sometimes - not just the big famous titles.
The film kind of sneaks up on you though as to just how dark and sad it is - so do be warned if you are easily shocked.
The film is set during Pinochet's rule in Chile and the main character Raul is a dark, brooding, pitiless, frustrated guy who is obsessed with Sat Night Fever. He is around 50 but acts younger.
He sees himself as Tony Manero - (John Travolta) and watches the movie often.
I think the obsession is due not only to the fact that the guy has a screw loose but that he is dreaming of and projecting a better life than the reality of life under a curfew style oppressive regime in Chile.
The cool thing to me is that Raul looks like Al Pacino not Travolta and the character has more in common with Tony Montana (Scarface) as you will see when you watch.
Along with some other younger characters Raul has formed a dance act at a local bar/ cafe who are rehearsing to do some musical numbers from the film SNF.
We quickly see that the lead actor Raul is not just a petty thief but actually a serial killer who will do anything to get by.
There are constant appearances and references to Pinochet's agents and some of Raul's circle are involved in protesting and printing of leaflets so are often surveilled.
There is some strong sexual content in this but Raul seems a bit impotent and kinda only really gets off on the movie Sat Night Fever.
He seems to be idolised though by all the woman around him regardless of the fact that he cannot meets their needs.
There is one awful scene where Raul uses the white suit of another person as a toilet - to prevent him being a rival in the Tony Manero look alike competition - so just be warned it is hard to stomach at times and not for the faint hearted.
There are some bits I found funny too its not all dark but overall its just odd surreal and slightly unnerving throughout perhaps how life was in Chile during that regime.
Its like you are sucked into the dream/nightmare or quest of this person and you want it to end but also want to see more.
I think one reviewer said the ending was not good - I thought it was cool and it seems obvious what will happen next to me.
Personally I love films like this as I stated but don't think it will appeal to everybody.
powerful
demirelogluberat7 May 2020
The film, which conveys impressions from a country that is politically and economically collapsed, shows us how martial law situations actually get people out of control psychologically and sociologically rather than creating a control mechanism. You are increasingly watching your character's obsessions about the role model of a psychopathic character and their relationship with other people.
A chilling study in obsession and violence
gregking427 August 2009
Warning: Spoilers
A chilling study in obsession and violence, set against the backdrop of Pinochet's totalitarian Chile in the late '70's. Raul (Alfredo Castro) is a pathological serial killer and amoral petty thief who is obsessed with John Travolta's character from the movie Saturday Night Fever. He watches the film daily and mouths the dialogue, and even tries to copy his mannerisms. As an homage to the film he is also mounting a dance routine in the small cantina where he works. Raul is the type who sees something he wants and takes it by any means possible, whether it be a colour TV or even his girl friend's sexually precocious daughter. He enters a TV competition to find Chile's Tony Manero lookalike, and takes care of one of his rivals in typically nasty fashion. Dressed in his gaudy white suit, Raul looks less like John Travolta and more like a seedy Al Pacino circa Scarface. But his selfish obsession towards these superficial distractions and his willingness to live in an unrealistic fantasy world blind him to the very real perils of Chile, where death squads roam the streets and plains clothes police snatch people off the streets. Raul is a repellent character, and Castro, who co-wrote the film with director Pablo Larrain, makes no attempt to garner sympathy for him. Larrain's direction is restrained and understated, which makes the grim reality of Raul's environment somehow seem more menacing.
Good on 2 levels (if not more)
gil-1689 July 2009
Warning: Spoilers
I really liked this movie. I wish there was a more solid ending, but it was acceptable. Very good use of using the fascist regime weaving in and out of the story. As many critics have already made us aware, the insane actions performed to satisfy an insane goal by the title character mirror those of the Chilean regime during the same period. Loved the documentary style of film-making. Loved the flawless depiction of a poor, but barely scraping by city. I would say the only thing I would have liked to have seen was some sort of closure to the story. I'm only human. Anyway, awesome otherwise. TONY MANERO should go down as an Indie Classic.
Disturbing.
r-albury24 March 2011
Tony Manero is a disturbing portrayal of humanity at its worst in trying times. During the dictatorship of Pinochet in the 70's, the movie portrays the suffering of the people and their efforts to continue life as normal. In contrast, the protagonist, Raúl, thinks of no one but himself and has no qualms about lashing out against those around him, seemingly with no consequences. The one thing he wants is to be Tony Manero and he is willing to do anything to obtain that goal, that lifestyle. The way that the plot plays out is often unexpected and the protagonist rarely speaks which builds up great anticipation. Raúl's attitude toward those who depend on him leaves much to be desired and he often betrays or abandons those who need and trust him most. The movie is violently unsettling and explicitly sexual; it leaves the viewer disturbed, almost traumatized. The events that take place in the film stay with the viewer – and that may not necessarily be a welcome thought.
Disturbing, intelligent, memorable and perfectly crafted
mrodent3310 October 2011
Warning: Spoilers
Hollywood at its best has very occasionally made films of this subtlety and power, so have the French. The reviews here have picked up on some of the symbolism, but not enough: Raul *is* Chile, yes, but Travolta and Saturday Night Fever also symbolise the trashier American values for which Pinochet's Chile murdered democracy in 1973. The symbolism in this film is staring you in the face, and yet at the same time it is not annoying or even obvious! In the tradition of such films of subtlety, the actual physical presence of the regime is very marginal, barely hinted at with one scene with a couple of brutal plain-clothes cops. And in fact the film, oddly, does work perfectly well as a story of an obsessive, murderous maniac. The lead actor has a compelling screen presence, far superior and more convincing, to my way of thinking, than the mannered nonsense of an Al Pacino, for example. Another powerful offering from recent South American cinema, which like so many of these recent films, works on the slow-burn principle, and does it with great artistry.
You should be frantic while watching this one.
meeza13 June 2010
If that infamous movie character name of this foreign film's title is dancing very familiarly in your head, you have a good guess on who it is; none other than John Travolta's character in the 70's classic "Saturday Night Fever". So why is Tony Manero dancing now with foreign stars? Well, the character of Tony Manero not only took our nation by storm, but also had profound global awareness in the 70's and thereafter. The movie "Tony Manero" steps its way into the obsessed mind of protagonist Raul Perelta, a middle-aged serial killer residing in 1970's Chile under the dictatorship of Augusto Pinochet. Perelta has some scary moves by sabotaging anything or anyone who gets in his way in perfecting the embodiment & characterization of Tony Manero. In other words, not many that cross the Peralta pathway are "staying alive" throughout the film's narrative. His premier quest is to dance his way to the top prize in a Chilean TV show's "Tony Manero celebrity impersonation" contest. Director Pablo Larrain and screenwriters Alfredo Castro & Mateo Iribarren formulate the character of Peralta as such a disturbed and repulsive protagonist that it questions "how deep were their thoughts" in the film's developing process. The Raul Peralta character is so repugnant and odious that it automatically disengages one to the film's central narrative. Castro's leading performance as Manero had a severe case of the "thespian broken record syndrome" with its monotone method. If it can have you Mr. Castro, then why not include other similar subpar performances from the film's supporting cast. Now I must admit that I enjoyed a few scenes of "Tony Manero" that paid homage to "Saturday Night Fever" including when Peralta mumbles the lines of Fever in the theatre while watching it countless times, his shock when he first observes that John Travolta's Danny Zuko character in "Grease" is a far cry from Travolta's Manero, and to some degree the film's Manero impersonation contest during the film's climax. But when "Tony Manero" turns into Peralta's maddening ways it deteriorates into a big slap on the face on the Fever legacy. Overall, "Tony Manero" is a feverless 2009 movie odyssey that is not worth taking. *** Average
Pablo Larrín's unforgiving political manifesto
lasttimeisaw14 November 2016
Edging to the annual awards season, this year a sure thing is that Chilean director Pablo Larrín will on everybody's radar with his one-two punch NERUDA (Chile's entry for the Best Foreign Language Film) and the formidable JACKIE, a biopic about Jacqueline Kennedy, may win its star Natalie Portman a second Oscar statue as a major player.
So here comes a warm-up to get acquainted with Larrín's previous work, TONY MANERO is his second feature, a sombre take on Chile's darkest time under the Pinochet regime peppered by a less sombre through-line: the 52-year-old protagonist Raúl Peralta's (Castro, Larrín's regular, an Al Pacino doppelgänger both in appearance and affective intensity, also the co-writer of the script) obdurate participation of a TV program "One O'Clock Festival", where a Tony Manero (the lead character in John Badham's Saturday NIGHT FEVER 1977, played by John Travolta) impersonation competition is scheduled in Santiago, 1978.
Examined closely by a hand-held Super 16mm, which intermittently toys with a blurry focus to accentuate the proximity of a sordid milieu, Raúl gives us the first impression of a pallid, taciturn, hangdog loner in the opening scenes where he mistakes the registration date as the actual contest, which will be held one week later. But that facet loses its disguise quickly, when he schematically assaults an old woman who has just been mugged on the street, at her own home, to take away her small boxy color TV set. He is not so much a petty criminal as a ruthless homicide, which ingeniously puts audience at the edge of the seat with a dreadful perturbation whenever he prowls or idles in the dilapidated environs, as violence could be erupted any moment if he sees the opportunity for a monetary gain, whoever the prey is.
Raúl lives with a coterie of amateur dancers in the scruffy house of Wilma (Poblete), where they also occasionally perform to entertain customers. His troupe includes Cony (Noguera), his friend- with-benefit, her adolescent daughter Pauli (Lattus) and Pauli's boyfriend Goyo (Morales). Together they help Raúl to rehearse the John Travola routine, but there is seething tension underneath, Raúl becomes impotent during an overtly explicit rumpy-pumpy, and is mocked by Cony that the only thing can revitalize him is the urge to win the competition, which sours their relationship, Goyo is involved with some surreptitious anti-Pinochet movement, which will put everyone under the interrogation of Pinochet's plainclothes secret police, although Raúl manages to skulk out since it is his big day.
Larrín's tack doesn't shy away from being obstinately provocative, up to an instance of sickeningly scatological malevolence, which seems like an unwarranted feeler to validate its sky's-the-limit artsy taste. But on the other hand, Larrín and his co-writers perspicuously cast a phenomenon of American culture invasion as an escapism for the amoral and the hard-up living under the terror of an autocracy, which indisputably hits the mark of liberating its restrained but astringent political manifesto.
Alfredo Castro is absolutely electrifying to watch from A to Z in the central role, holding Raúl's interior thoughts at bay, but excellently transforms himself onto the screen as a ravishingly volatile monster, with no fear, no conscience, no hold-up can stop his destructive/self-destructive wantonness (as the inauspicious ending dauntingly beckons), who should be answer for this type of societal mutator? The culprit is clear as day in this slam-bang critique of a bygone era weighing heavily on Larrín's fatherland.
So here comes a warm-up to get acquainted with Larrín's previous work, TONY MANERO is his second feature, a sombre take on Chile's darkest time under the Pinochet regime peppered by a less sombre through-line: the 52-year-old protagonist Raúl Peralta's (Castro, Larrín's regular, an Al Pacino doppelgänger both in appearance and affective intensity, also the co-writer of the script) obdurate participation of a TV program "One O'Clock Festival", where a Tony Manero (the lead character in John Badham's Saturday NIGHT FEVER 1977, played by John Travolta) impersonation competition is scheduled in Santiago, 1978.
Examined closely by a hand-held Super 16mm, which intermittently toys with a blurry focus to accentuate the proximity of a sordid milieu, Raúl gives us the first impression of a pallid, taciturn, hangdog loner in the opening scenes where he mistakes the registration date as the actual contest, which will be held one week later. But that facet loses its disguise quickly, when he schematically assaults an old woman who has just been mugged on the street, at her own home, to take away her small boxy color TV set. He is not so much a petty criminal as a ruthless homicide, which ingeniously puts audience at the edge of the seat with a dreadful perturbation whenever he prowls or idles in the dilapidated environs, as violence could be erupted any moment if he sees the opportunity for a monetary gain, whoever the prey is.
Raúl lives with a coterie of amateur dancers in the scruffy house of Wilma (Poblete), where they also occasionally perform to entertain customers. His troupe includes Cony (Noguera), his friend- with-benefit, her adolescent daughter Pauli (Lattus) and Pauli's boyfriend Goyo (Morales). Together they help Raúl to rehearse the John Travola routine, but there is seething tension underneath, Raúl becomes impotent during an overtly explicit rumpy-pumpy, and is mocked by Cony that the only thing can revitalize him is the urge to win the competition, which sours their relationship, Goyo is involved with some surreptitious anti-Pinochet movement, which will put everyone under the interrogation of Pinochet's plainclothes secret police, although Raúl manages to skulk out since it is his big day.
Larrín's tack doesn't shy away from being obstinately provocative, up to an instance of sickeningly scatological malevolence, which seems like an unwarranted feeler to validate its sky's-the-limit artsy taste. But on the other hand, Larrín and his co-writers perspicuously cast a phenomenon of American culture invasion as an escapism for the amoral and the hard-up living under the terror of an autocracy, which indisputably hits the mark of liberating its restrained but astringent political manifesto.
Alfredo Castro is absolutely electrifying to watch from A to Z in the central role, holding Raúl's interior thoughts at bay, but excellently transforms himself onto the screen as a ravishingly volatile monster, with no fear, no conscience, no hold-up can stop his destructive/self-destructive wantonness (as the inauspicious ending dauntingly beckons), who should be answer for this type of societal mutator? The culprit is clear as day in this slam-bang critique of a bygone era weighing heavily on Larrín's fatherland.
Great terrifying film
livealittleday13 November 2021
Ive been meaning to review this film for years as it has stayed with me from when I first sewed it many years ago.
I think this is a terrifying masterpiece, its underrated, under discussed, and shows the true horror of serial killers instead of the glamorous side of in such films such as Silence of the Lambs or the Tv series Mindhunter.
The connection of the Saturday Night Fever character to a serial is sheer perfection, its bizarre yet truly haunting.
I think this is a terrifying masterpiece, its underrated, under discussed, and shows the true horror of serial killers instead of the glamorous side of in such films such as Silence of the Lambs or the Tv series Mindhunter.
The connection of the Saturday Night Fever character to a serial is sheer perfection, its bizarre yet truly haunting.
It is an extremely ambiguous film...
RosanaBotafogo18 February 2023
In the midst of the social context of the Pinochet dictatorship, Raúl Peralta, a man in his 50s, is obsessed with the idea of impersonating Tony Manero, John Travolta's character in the movie "Saturday Night Fever". Raúl leads a small group of dancers, who regularly perform at a bar on the outskirts. Every Saturday night, he unleashes his passion for movie songs by imitating his idol. His dream of being recognized as a successful showbiz star is about to come true when the national TV station announces a Tony Manero impersonator contest. His anxiety to reproduce the idol leads him to commit a series of crimes and thefts.
It is an extremely ambiguous film, at the same time that we feel sorry for the protagonist in the first ten minutes we feel the incredible that pulsates and disgust for its violent and obsessive data, bordering on the sick... A very interesting film with a differentiated approach, obsession for a idol, the dream of pursuing a profession and aggression taking on realistic contours...
It is an extremely ambiguous film, at the same time that we feel sorry for the protagonist in the first ten minutes we feel the incredible that pulsates and disgust for its violent and obsessive data, bordering on the sick... A very interesting film with a differentiated approach, obsession for a idol, the dream of pursuing a profession and aggression taking on realistic contours...
Stayin' Alive
valis19492 September 2013
TONY MANERO (dir. Pablo Larraín) The film is set in Chile during the fascist reign of Augusto Pinochet, and focuses on a man who is obsessed with John Travolta's discotheque super-star character in Saturday NIGHT FEVER. This might have been played for laughs, but Pablo Larrain's film is an evil fantasy of disco glory that portrays an obsessive and twisted character who is willing to kill to to fulfill his grotesque vision of acclaim. The frenzied violence in this film is so sudden and inexplicable that it literally takes your breath away. The film seems to present a subtle metaphor that compares the highly stylized nature of disco to the uncompromising fascist posturing of totalitarianism. ABSOLUTE MUST SEE
Its not Travolta - its Detective Hanna!
NickDeckard20 December 2010
Warning: Spoilers
Well he might be trying to look like 70s John Travolta (he doesn't!) but he does look just like Al Pacino circa Heat! This film did keep me watching, Ill give it that. But its ultimately disappointing - especially the end where it seems they run out of money/ideas/script! I think there is a very good film trying to get out here - maybe if it had been more about the actual times (Pinochet etc) rather than one man's fixation on Saturday Night Fever, it could have been better? I didn't understand why being obsessed by Saturday Night Fever turns you into a killer and a freak either...its not that bad!
There were some rather nasty undercurrent themes in this too - its most definitely an 18.
To sum up - its interesting but not worthy of a re-watch. I think it could have been a lot better had the script been different. I didn't understand the need for all the unsavoury bits (not just the two? murders) - just not needed and difficult to watch.
There were some rather nasty undercurrent themes in this too - its most definitely an 18.
To sum up - its interesting but not worthy of a re-watch. I think it could have been a lot better had the script been different. I didn't understand the need for all the unsavoury bits (not just the two? murders) - just not needed and difficult to watch.
too much
abigail-sawyer22 March 2011
The film Tony Manero is an interesting concept: an impersonator who devotes himself entirely to the persona he is trying to imitate. In a sort of Don Quijote-type situation the main character of Raúl becomes consumed by his desire to become Tony Manero and does outrageous things that at times are comical but are mostly just appalling. The harsh crudeness off the movie was repulsive. The overwhelming amount of violence and unattractive nudity were a huge-turnoff. Unfortunately there was no redeeming quality about Raúl. His promiscuity and rampant violence are extremely unappealing. He never gets punished for all the horrible things he does and the viewer is left feeling disturbed and without any hope for relief. Most movies about Latin America have some sense of a harsh reality but this movie is excessive in it's portrayal, it's TOO MUCH.
Brutal, disturbing but amazing
Broodboy12 May 2012
This film has lingered in my mind for a very long time.
The lead character is probably one of the scariest and most disturbing I have seen on cinema . He is without any morality and empathy but for some reason you are captivated by him and his life. You want him to succeed at first but as the film progresses you ate repulsed by him but stills obtain a fascination in his life. This is due to the writing and directing.?
The conditions and larger political scope of the film are well thought out, to live in that kind of fascistic government one such as the lead of this film is created and thrives. He is the logical product of that environment.
The scene when he kills the old woman for the TV is so disturbing i still think about it to this day and I saw it about three years ago.
The most haunting aspect for me was when he gets on the bus at the end and watches the winner of the competition and we all know what will happen, what he will do and what is store for his prey. Brilliant ending.
This is brutal, disturbing and amazingly directed.
The lead character is probably one of the scariest and most disturbing I have seen on cinema . He is without any morality and empathy but for some reason you are captivated by him and his life. You want him to succeed at first but as the film progresses you ate repulsed by him but stills obtain a fascination in his life. This is due to the writing and directing.?
The conditions and larger political scope of the film are well thought out, to live in that kind of fascistic government one such as the lead of this film is created and thrives. He is the logical product of that environment.
The scene when he kills the old woman for the TV is so disturbing i still think about it to this day and I saw it about three years ago.
The most haunting aspect for me was when he gets on the bus at the end and watches the winner of the competition and we all know what will happen, what he will do and what is store for his prey. Brilliant ending.
This is brutal, disturbing and amazingly directed.
Disturbing Movie
alex-nawoichik25 March 2011
This was the most disturbing movie I have ever seen in my entire life. Truly, this is not a movie for the faint of stomach. The thought that a serial killer like Raúl Peralta could be so obsessed with another human being, makes me sick to my stomach. It also makes me wonder how many other people put famous people on a pedestal like he does in this movie. The director, Pablo Larraín seemed to place too much emphasis on nudity, sex, and slander in this film. Is it possible that this is standard for many Latin American films? Better yet, maybe his plan was for this to sharply contrast his personality and the way he acts as himself, and as Tony? Whatever the reason, I believe that the director could have gotten the same message across with less of those disturbing details.
You should check this movie out, definitely
richard808-130 July 2013
This movie isn't for everybody. It's violent and portrays a main character who is uniquely sick, same way that every serial killer who makes the papers is twisted some strange way. But this is a really interesting movie, a little bit too complicated to even sum up successfully, past the bare bones description of the main character obsessing over John Travolta in ONE of his movies (he gets enraged, for example, when he is cajoled into wasting his time watching some OTHER Travolta flick; see what I mean?) But let me just leave you with this: I really didn't get this movie for a couple years, and then I had to deal with a guy in the neighborhood who is a pretty weird guy, very destructive and all that; and you know what? Now I get Tony Manero the movie. Strangely, I also got more of an insight into the art of the movie; that would take a LOT more explanation.
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