Suiting up to The Bee Gees

In the year of my birth, a movie came out which, cinematically, was a landmark. A box office smash. And the introduction to one of Hollywood's greatest Scientologists: John Travolta. But musically, this same film would mirror an age of Americana best left forgotten, but never so well praised and captured. The disco era!!!

This film was (and still is), "Saturday Night Fever".

During a semester of my college years, a poster of Tony Manero shaking his stuff on the disco floor, adorned my dorm room wall. It wasn't that I was a fan of the movie. Truth be told, I've only seen it in its entirety once. And everything in the movie that transpires after the first 25 minutes is a blur.

It's not because the rest of the film is necessarily bad and forgettable. Rather, it's because those first 25 minutes are so memorable! Not only do they contain that, often imitated opening credit sequence, where Travolta struts down the sidewalk, carrying the paint cans, to the beat of The Bee Gees singing 'Stayin' Alive', but we're also treated to some of the best stereotypical American Italian accents you'd hear until 'Goodfellas' came out in 1990. A classic dinner table scene with the family. "You know, I work on my hair a long time, and you hit it. He hits my hair." And of course, the actual disco dance scene itself.

But among all of that is one of the most douche-chilly suit-up scenes you're ever going to see. Since I started writing for this wonderful site, I've been on the look-out for a suit-up scene involving a person going out for the night. I started by searching for pre-prom rituals. This search led me nowhere. I finally went back to the drawing board and thought of other iconic movies about the freedom and fun of just going out on a weekend night. And of course, this eventually led me to 'Saturday Night Fever'.

The suit-up scene displayed here is masterful. It's scored to The Bee Gee's 'Night Fever', and opens up with a very determined Tony Manero blow drying his perfect hairdo. We then see him posing in front of the mirror, hairy Italian chest and all. As if to glorify the age of disco even more, director John Badham wisely shoots Manero at a low angle, as if to put him on a pedestal of coolness. A god of love and swank, ready to take on all comers on the dance floor.

I know I sound like I'm being dramatic here, but just go watch the scene. You'll be shocked by how great it's constructed. As Tony puts on his gold bling, we are seeing a ritual take place. Every move is calculated. Executed with flair and oozing with sex appeal. Tony bounces his hips, swings his ass, 'toggles' his hands... all while staring intently at his own reflection in the mirror. Even his dad entering the room to tell him his mother's tasteless Italian sauce is ready, isn't enough to break him from his suiting up mode. What elevates the scene from a 3 star review to 4, is that the scene is cross-cut with images of people dancing at the disco. Meaning, we are actually seeing Tony's thoughts. His impatience. His hopes and dreams.

Tony Manero is a man who respects the suit-up. It's a code he lives by. After all, you gotta prepare for the fever!!!