Saturday Night Fever
At first glance what may appear to be a cultural relic from the disco '70s is actually a deeply sensitive star-making vehicle for the young John Travolta as a Brooklyn hot dog who is slowly realizing that everything in the world he knows - his unemployed and jealous father, his gooney Brooklyn buds, his life as the king stud on the dance floor, everything around him - is all bullshit.
Who would guess that a little script by Norman Wexler (Serpico) based on a New York Magazine article by Nik Cohn, "Tribal Rites of the New Saturday Night," would be at the center of a cultural phenomenon? (The piece was said to be based on his reporting of real life characters he met in Brooklyn, but later it was revealed he made the whole thing up.) Everything about Saturday Night Fever became hot; Travolta’s white suit started a fashion trend, discotheques went from being an urban, ethnic or Euro trend to being found on main street in the middle of America. But hottest of all was the soundtrack, selling 20 million copies. Most was produced and performed by the Australian family band, The Bee Gees, the one time Beatles wanna-bees. The soundtrack scored them hit single after hit single, including "Staying Alive," "Night Fever," "How Deep Is Your Love," and "If I Can’t Have You" sung by Yvonne Elliman (who played Mary Magdalene in the film version of Jesus Christ Superstar).Continue Reading
Al Pacino played his first cop in Serpico and, by my count, would go on to do it six more times in Cruising, Sea of Love, Heat, Insomnia, Righteous Kill, and something called The Son of No One. (He’s played a criminal in twice as many films.) It’s fair to say that at the time Serpico was released there had never been an on screen cop like this one. It was Pacino’s most Dustin Hoffman-like performance (back in those days they were compared to each other, for good reason). In Serpico, Pacino seemed shorter than usual, his back was humped, his voice more nasally, and his Elliott Gould mustache early in the film grows into a full on scraggily beard. Serpico was an oddball cop who liked ballet, lived with the freaks in the Village, had a dog instead of a baby, and most weird of all, wouldn’t take a payoff. In New York that was enough to almost get you killed.
Serpico’s story take place in the '60s, which was a time of unprecedented police brutality. In the South civil rights workers were being abused by cops. In the North racist big city cops were continually harassing black citizens which led to many major uprisings (or riots). Vietnam protesters in Chicago were faced with Gestapo tactics on national television. The film was an unflinching look at the underbelly of a police force that differed so much from the propaganda Hollywood had given us about cops on TV and films for decades. The film was based on the hard-hitting, best-selling biography of Detective Frank Serpico by Peter Maas (King of the Gypsies), with a screenplay by Waldo Salt (Midnight Cowboy) and Norman Wexler (Saturday Night Fever). The great New York director Sidney Lumet (Network) took over production after John G. Avildsen (Rocky) was fired. Lumet brought his signature grit to the look and, as usual, elicited truthful performances from the cast.Continue Reading