It's murder on the dance floor...
A man is obsessed with John Travolta's disco dancing character from "Saturday Night Fever".
A man is obsessed with John Travolta's disco dancing character from "Saturday Night Fever".
The World Is More Than Enough 2: Back To The 30 Countries (10/30 - Chile)
"You're going to end up shitting out a bastard!" is perhaps the single nastiest line I've ever heard (or read) in any film I've ever seen. Marvellous!
Having never seen Saturday Night Fever, I am now slightly scared about seeing it after seeing Tony Manero. This Chilean drama is labelled quite frequently as a black comedy, even though I rarely felt like laughing. It also arrives with a reputation for being quite naughty and also unflinchingly violent but is actually a fair bit tamer than its reputation would suggest. That or I've watched too much violent crap and porn in my life. That'll be it,…
What do Pablo Larraín and Todd Philips have in common? They sure loved The King of Comedy enough to make similar films adapting the background of the social commentary. However, Larraín did it 11 years before Philips.
Tony Manero is a bleak and jarring chilean film set during Pinochet's dictatorship, it tells Raúl's story, a man obsessed with John Travolta's character and dance moves in Saturday Night Fever. Sounds quirky and even funny, I promise it isn't.
This is a character study about a psychotic man desperate for attention, who's willing to do everything, even killing to fulfill his wishes. There's something very interesting about the glorification of Hollywood culture and specially its impact in latin america, even more the…
Well now, I... um... wow. Here I was thinking I was set to experience a cute little Chilean comedy about some schlubby loner obsessed with Saturday Night Fever. The reality is... a little different. I'm not going to say anything to preserve the effect for those of you who haven't seen it, but the point where you understand what's going on is so dazzlingly striking that I couldn't take my eyes off the screen until the credits rolled. Alfredo Castro is nothing short of astonishing as the Travolta wannabe, conveying all sorts of emotion with frightening agility. An incredible film, seek it out.
I mean, I'm not terribly fond of Grease either, but I think that's an overreaction.
Pablo Larraín's second film narrows its focus considerably, yet somehow becomes even more ambitious; rather than the presumably autobiographical thoughts on art that make up the intellectual foundations of Fuga, this attempts to diagnose the whole of Chile during the Pinochet years through the lens of one very unsavoury man. Alfredo Castro gives an unforgettable lead performance as Raúl Peralta, a grubby, middle-aged disco obsessive whose determination to be recognised as his neighbourhood's foremost Travolta impersonator leads him to horrifying violence.
As a study of the inner life of a serial killer, Tony Manero ranks only a hair beneath John McNaughton, Shohei Imamura and Fritz…
I'll elaborate on this later, but Pablo Larraín does everything right with Tony Manero that Todd Phillips did wrong with Joker.
There's no posturing here, only a raw and brutal portrait of a lack of identity which is forged through the dream of being someone else, resulting in a cold alienated existence. I'm also not going to pretend to have a firm grasp on Chilean history, but the period detailing of this film seems far more lived in and honest than the superficial presentation of an American city from the 80s that Joker gave.
Pablo Larraín crafted an odd and disturbing character study set against the backdrop of Augusto Pinochet's violent and repressive dictatorship. The film is the portrait of an almost pathological obsession, of a dysfunctional mind, of a decadent society on the verge of collapse. It is harsh and unpleasant, it shows the worst that lives within the human being that finds release in extreme circumstances and the reality of those people who saw their freedom brutally denied.
Fascinating ugly account of a man, named Raúl, obsessed with Tony Monero from Saturday Night Fever. He goes to the cinema everyday to see the film and mimic John Travolta. Throughout the film Raul engages in amoral and psychotic behavior to get what he wants. His goal in life is to win a contest as Chile’s best Tony Monero. In the backdrop is Pinochet’s brutal dictatorship over Chile, who also commits atrocious acts to get what he wants. The United States notoriously helped install Pinochet into power forcing their will and political ideology on Chile. Raul similarly has given up his Chilean identity to become an American icon. This is an appropriately ugly film aesthetically mirroring the atrocities occurring in Chile. One of the best scenes is a song that describes the death of hope and dreams. If you like going to a dark place watch Tony Manero. As of this review it’s on Netflix in the USA.
A common reaction from those giving Saturday Night Fever a rewatch for the first time in decades is often an exclamation of surprise: they weren't expecting the darker side of the film, and they sure were not expecting the film to be as good as it was.
My last rewatch was a very long time ago so I'm sure there are nuances I am missing, but my guess is that there are more elements of Saturday Night Fever being mirrored in Tony Manero than simply the mimicking of the dance scenes.
Tony Manero is an odd, disturbing look at the life of Raúl Peralta, a man who likes to believe that he is John Travolta's character Tony Manero. The film…
Tony Manero isn’t lush and beautiful like Saturday Night Fever—it can’t be. And unlike Saturday Night Fever, it doesn’t attempt to draw you in with slick filmmaking or with John Travolta or even with impressive dancing. Tony Manero is repulsive, both as a film and as a character. Life—and especially life under Pinochet—is ugly; life is not an American movie. And while we can escape and take refuge in those movies, they ultimately won't save us from our reality.
But while the film is interesting in that regard, I have an increasingly low threshold for movies (or books, or shows, or anything) that follow horrible, violent, repugnant men (that was the reason why I didn’t care for Saturday Night Fever…
In the 2008 film Tony Manero, director Pablo Larraín takes his central character Raúl, a fifty-something violent and impotent obsessive sociopath (played by Alfredo Castro), and creates a superb metaphor for the oppressive fascist regime of General Pinochet in Chile. Given that Pinochet's 1973 military coup was financed by the CIA who wanted rid of Salvador Allende, the first democratically elected Marxist president, it's only right (and blackly ironic) that Raúl's dangerous obsession is with the hit Hollywood movie Saturday Night Fever.
There's a moment where Cony (Amparo Noguera) one of Raúl's dance troupe and girlfriends remarks that they are both the same - a comment that visibly repulses Raúl. Small wonder really, as her statement suggests a commonality, a…
Diseased in a way that feels not only tangible, but cultural. A slum dwelling murderer who obsesses over the titular Saturday Night Fever jabroni slaves away to obtain the perfect white suit, the manicured hair, and learn the disco dance moves, all in the name of appearing on a talent show where the top guest continues on next week to compete for 75,000 pesos, and the runner up gets a blender. Meanwhile, General Pinochet's own personal gestapo continue to round up and execute this dangerous small time dreamer's neighbors, exercising seemingly random fascistic power. Imported cinema becomes a gateway to escape, while our gaunt, ghostly Latin Al Pacino - Alfredo Castro's haggard mug resembling a twisted mirror of the American…
e esse final ein
Alfredo Castro necesita la justicia que se merece. Este actor chileno ha estado presente en el cine de Larraín del cual me estoy poniendo al tanto y este señor no deja de sorprenderme con tan poderosas actuaciones, esta no es la excepción.
Dejemos algo en claro... si les gustó Joker o El Rey de la Comedia, esta disparará tus entrañas de la misma manera. Un hombre transtornado goza de su mayor sueño hasta culminar en trágicos eventos que convierten al protagonista en un ser humano desgarrador. La combinación de una dirección caótica y actor preparado convierten está en una de mis favoritas de Chile.
Dura de ver, sin embargo tiene los huevos para dejar en claro que algunos harán lo que sea por su sueño.
Really strong, CONSISTENT, use of handheld camera holding on our main character. The movie feels a bit “dead inside”/ lifeless at times but I think that’s the point.
Lorrain has such a strong sense of direction and visual storytelling. Almost too good at times? The opening when we see him go to help the old lady, the camera twists and turns around his face, catches his glances on either side, coming in and out of focus— this tells us his intentions which I feel like he could have left out although it’s so cinematically strong one has to wonder if he should keep it.
Lots of really clever camera moves where the camera swivels / pans / jolts suddenly and…
Película hecha exclusivamente para mostrarnos los horrores de la dictadura de Pinochet... y decirnos que absolutamente todos los fans de Saturday Night Fever son unos sociópatas de lo peor.
Latin american Joker
La violencia normalizada a raíz de la dictadura, la alineación causada por los programas televisivos y las películas, la influencia del cine y su culto a las estrellas en la sociedad, una sociedad sin expectativas de futuro, todo esto se puede encontrar en este film.
Larraín tiene ese estilo cinematográfico que causa aversion hacia sus personajes y lo que ellos representan, así como al contexto como propiciador de esas conductas. Gran acierto a la hora de retratar un periodo tan oscuro, desolador y violento como lo fueron los años de Pinochet.
This review may contain spoilers. I can handle the truth.
No pude evitar carcajearme con las secuencias en las que Raúl asesina al proyeccionista del cine o cuando le caga el traje a “Goyo”. Esos niveles de cringe tan patéticos los hubiera querido tener el Joker del 2019.
Mención especial a Alfredo Castro que en Tony Manero no es menos que De Niro en Taxi Driver o en The King of Comedy.
Al leer la premisa de esta cinta, comencé a verla pensando que sería una comedia o algo por el estilo, y si bien hay sutiles tintes de ello, es algo totalmente distinto. El ambiente de la película se siente muy tétrico y desolado, lo cual es comprensible dado el contexto en el que se desarrolla la trama. Pienso que la obsesión del protagonista se trata de una forma espectacular, se nos muestra a un personaje callado, abstraído y posiblemente corrompido, son pocas las líneas que salen de su boca y sin embargo logramos adentrarnos dentro de su enfermiza mente. Raúl es un personaje al que no le importa lo moralmente correcto y que está dispuesto a romper la ley o…
Que bonito saber que chile tiene su propio "The King of Comedy".
tony manero walked so the joker could run
A desperate and horrific cry for validation. It reminded me a lot of Kiarostami's "Close-Up". In these two films, the central characters need and want the same: recognition, to feel their existence is worth something, to feel seen and relevant —even if just for a couple of minutes on live TV, or even if it implies a big lie— in a world where is easy to feel small (because we are) and insignificant, thoughts that attempt directly against the logic of being alive.
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