Director Pablo Larrain, aided by a quietly compelling performance from co-screenwriter Alfredo Castro as Raul, is clearly commenting not only on a kind of celebrity fetishism.
Tony Manero (2009)
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Reviews Counted:28
Fresh:24
Rotten:4
Average Rating:6.8/10
Consensus: Deliberately provocative, Tony Manero is as challenging and compelling as it is difficult to describe.
Theatrical Release:Jul 3, 2009 Limited
Synopsis: Chilean director Pablo Lorrain's TONY MANERO is a film that has very few cinematic precedents, if any. Establishing a tone of its daringly original own, it somehow manages to be three things at... Chilean director Pablo Lorrain's TONY MANERO is a film that has very few cinematic precedents, if any. Establishing a tone of its daringly original own, it somehow manages to be three things at once: a powerful portrait of life lived under a dictatorship, a bitter critique of an individual who will do anything to reach his goal, and a blackly comic satire of celebrity obsession. Raul Peralta (Alfredo Castro) is a 50-something man who lives in Santiago during the fearful, suffocating days of Augusto Pinochet's rule. Raul is obsessed with John Travolta's character from SATURDAY NIGHT FEVER--hence, the film's title--to the point where he's even bought a white suit similar to Manero's. Each weekend, he performs with a small group of dancers at a small bar, recreating the moves from his favorite movie. But when the stage's wood begins to weaken, Raul is determined to rebuild it with glass blocks that light up. He finds an even more important purpose when a television station announces that they're holding a Tony Manero dance-and-look-a-like contest. In such a stifling social climate, Raul takes matters into his own hands, doing whatever it takes to make his dream come true. The tone of TONY MANERO is virtually impossible to describe, for the film's most brutal moments are actually its funniest. It doesn't seem appropriate to laugh at Raul's violent, unethical behavior, but it's hard not to. The fact that Lorrain chose to shoot the film in a fly-on-the-wall manner on grainy 16mm contrasts with the outlandish situations unfolding within the frame, resulting in an experience that will confuse many viewers and electrify others. TONY MANERO is a startlingly original achievement, marking Lorrain as a director to watch in the future. [More]
Starring: Alfredo Castro, Amparo Noguera, Paola Lattus, Hector Morales
Starring: Alfredo Castro, Amparo Noguera, Paola Lattus, Hector Morales, Elsa Poblete
Director: Pablo Larrain
Director: Pablo Larrain
Screenwriter: Pablo Larrain, Alfredo Castro, Mateo Iribarren
Producer: Juan de Dios Larrain
Studio: Koch Lorber Films
Reviews for Tony Manero
A memorably claustrophobic evocation of its time and place, as well as a reminder that the so-called escape offered by pop culture can sometimes be an escape into soul-sucking madness.
Perhaps best appreciated as a deadpan dark comedy about how ignorance, delusion, and selfishness can conspire to keep a people under the bootheels of a dictatorship.
Films are, in a way, just collective fantasies... and, in some cases, nightmares
It’s intriguing and challenging, although Castro’s Raúl never quite comes to full-blooded life, remaining a brittle vessel for the points Larrain seeks to score.
A highlight of the Cannes Fest, Larrain's Tony Manero, Chile's Oscar entry, is a poignant study of the excessive impact of pop culture (Travolta's Saturday Night fever) on one deranged man, set amidst Pinochet's dictatorship of the 1970s.
Remarkable Chilean actor Alfredo Castro portrays a sleaze-bag standing in for people desperate psychologically to escape from dictator General Pinochet's brutality.
The brilliance of Tony Manero is that it is so black-hearted. There are no forgivable souls within miles. The squalor is a masterclass in tack. The ghoulish hook is that it is totally compelling.
For actor Alfredo Castro's sinister steely stare alone, Tony Manero memorably stands out weeks after its screening.
[Director] Larrain deftly employs a Dardennes-style in-the-moment handheld lensing, managing a high-wire act in which audience disgust is outpaced by breathless anticipation.
Larrain evokes the bleakness and oppressiveness of life in a police state with much subtlety even as he poses a much larger question about cultural imperialism.
Larrain's (literally) dark, edgy movie is a precise artistic commentary on Augusto Pinochet's miserable regime, which was under way while Travolta gyrated.
Thanks to Castro’s creepy turn, this offbeat tale of a loon locked in his own disco inferno is strange enough to give anyone the heebie-Bee Gees. That said, some may find it hard to take an anti-hero without one redeeming feature.
A magnificently deranged study of overboard pop-culture fandom and authoritarian rule's destructive effect on its citizenry.
Writer-director Pablo Larraín keeps the uneasy laughter coming, and the nervous shocks, as light entertainment. Latin style has its darkest hour.
Larrain's film is primarily a character study of Raul, an unpleasant but unforgettable man who is part "King of Comedy" Robert DeNiro, part "Cape Fear" DeNiro.
Alfredo Castro is magnetically repellant in the lead, a soulful creep with desperation and a very specific form of madness seeping out of his pores.
A highly original portrait of a sociopath in a corrupt, festering, morally bankrupt society, this bleakly funny psycho-horror movie makes for clammy, compulsive viewing.
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June 30, 2009:
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