Tony Manero (2009)
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as Raúl Peralta
as Tomás as a Child
as TV Host
as CNI Agent 1
as CNI Agent 2
as TV Producer
as Tony 5 (winner)
as Tony 1
as Old María
as TV Guard
as Tony 2
as Tony 3
as Tony 4
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Critic Reviews for Tony Manero
Larrain's (literally) dark, edgy movie is a precise artistic commentary on Augusto Pinochet's miserable regime, which was under way while Travolta gyrated.
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.
Shot with a hand-held camera and presented in a fragmented scenario, Tony Manero is the director's compelling attempt to find parallels between the Pinochet reign of terror and Raúl's scruple-less antics.
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.
More than an indelible portrait of a sociopath with the soul of a zombie, Tony Manero is an extremely dark meditation on borrowed cultural identity.
Audience Reviews for Tony Manero
A compelling crime drama centered on a miserable sociopath obsessed with a movie character to the point of murder - which makes him also a surprisingly tragic figure -, relying on a gripping performance by Alfredo Castro and also making a subtle political commentary.
Raul(Alfredo Castro) is a week early for the Tony Manero look-alike contest at the television studio because this week they are doing Chuck Norris. That's not the only sympton of his obsession as he also goes to see "Saturday Night Fever" every chance he can, plus putting on a show based on the movie. First, he needs a dance floor and even after finding the right material, he needs money. Otherwise, Raul watches an old woman get mugged, helps her home with her groceries, kills her, smokes a cigarette to calm his nerves, feeds the cat and steals her color television set. "Tony Manero" is a disturbing and sexually graphic character study. Raul is so single-minded(Which works against itself since it is difficult to gauge some of the other relationships in the movie at times) that he does not take notice of anything outside of his goal in Chile in 1980 where the police pay more attention to politics than actual crime. Despite Raul's psychosis and his appearing closer to a late model Al Pacino than a young John Travolta, he looks up to and identifies with Tony Manero, in seeing somebody who tries to escape his life of drudgery through dance.(If Raul is angry at "Grease," I don't want to think about how he would react to some of John Travolta's later movies.) In fact, "Tony Manero" and "Saturday Night Fever" both are similar in their critical attitudes about racism.
Riveting near mute central performance drives along this dark tale of obsession. Reading the central character's face and hoping things won't go as badly as you fear offer intrigue, and watching the final showdown is unbearably tense. An unheralded treat for those who like their cinema dark and disturbing.
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