The World of Movies: Tony Manero
Written by Rachael Crawley
The World of Movies is a series that explores global cinema, drawing on films from many countries, industries and eras. This week, we follow one man’s dreams in Chile.
Tony Manero.
May contain spoilers.
Tony Manero (2008) was the second feature from Pablo Larraín, a director who has made many a historical movie. Later on, he became particularly known for his explorations of cultural icons – most prominently with Jackie and last year’s Spencer. When I learned of Tony Manero, which focuses both on Chilean history and the impact of a pop culture figure, of course I had to find out more.
It's Santiago in 1978, and Saturday Night Fever is still in recent consciousness. Raúl (Alfredo Castro), age 52, is trying his best to break into show business via a disco dance competition. He is inspired by John Travolta’s character, Tony Manero. “Inspired” is probably too mild a term. It is a deep and obsessive fandom, a complete identification with the character. Raúl himself is a rather unappealing character, a small-time criminal who uses everyone around him and only seems to find enjoyment in disco. (It could not have been an easy task for Castro, who masterfully portrays this blank and unlikeable person.) This is not a lighthearted tale of a would-be star – especially as Raúl falls further into his obsession and becomes increasingly erratic.
There are a lot of Larraín trademarks here – creative shots through handheld camera, the use of dark shadows surrounding a character’s psyche. Made with analog film, the movie also feels a little gray and devoid of colour, with an effect that brings real 1970s cinematography to mind. It’s very far away from the sparkle of disco (rather like the original Saturday Night Fever, which many forget). There are frequent references to the then-current Pinochet dictatorship and its effect on ordinary life. Whether a subtle nod or a full-on plot point, it is always there, and it informs the story throughout.
Tony Manero.
Tony Manero is a period piece that is driven by the less appealing aspects of the time, from the mundane to the grotesque – not an unusual concept for a Larraín film. It feels appropriately bleak, but also more lived-in than many historical films. Even the disco scenes are a little bit wilted. There are a few nice moments, particularly from the movie’s excellent supporting cast, who play regulars at Raúl’s favourite bar.
Thematically rich and highly evocative, Tony Manero synthesizes a number of political and cultural concepts to create a fully realized world. While it is not an easy watch – both in terms of imagery and in its subject matter – it is of adept technical quality and features an excellent lead performance. Like its predecessor, Saturday Night Fever, this movie deals in broken dreams and disillusionment. While exploring the same ideas, this take feels much darker – and all the more real.
Rachael Crawley holds a Master's Degree in Film and Photography Preservation and Collections Management from Ryerson University, and has worked with film in Canada and in Europe. She adores language and cinema, and how these subjects interact with each other.