Hustlers costume designer, Mitchell Travers, defined the origins of the film's costumes and treatment in an interview with Vanity Fair, stating that "I knew it [had] to absolutely floor the audience, and let them know that this is not going to be like any movie that they've seen before." Travers designed the costumes for Lopez to showcase the strength and muscle tone she amassed during her pre-Hustlers training. Without running afoul of the film's planned R rating, he dreamed up the diamond bodysuit that was essentially connected by three straps. Travers commented: "We did a lot of research and development to find something that could [stretch in every direction during Lopez's dance]. It's performance wear, and really had to work for that sequence. We did a number of fittings on it. It is tailored within an inch of its life, completely custom for her."[22][23]
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In the movie: Jennifer Lopez plays Ramona, a one-time Playboy centerfold with a giant rose tattooed on her back. Ramona is one of Moves' top dancers and prone to saying things like, "Doesn't money make your horny?" She's also an aspiring swimwear designer (her line of denim swimsuits is called "Swimona") and a single mother to a daughter, Juliette. For a brief period, she takes a retail job at Old Navy, but can't make ends meet on minimum wage and is forced back to the club, only to learn she's no longer one of the prized younger girls.
In the movie: Destiny's dancing glory days reach their peak when Liz (the dancer-and-flutist played by Lizzo) charges into their dressing room to announce that, "Motherf**king Usher is here. Usher, bitch!" And then, yes, Usher Raymond IV himself appears for a cameo, throwing money next to the main stage as all the Moves ladies dance to his music.
In real life: Pressler's story only off-handedly references the "celebrities and athletes" that would frequent Scores. But in a 2008 New York Post story titled "Confessions of an Ex Scores Stripper," Ruth Fowler wrote of her time at the club, "Someone like Usher would wander in with a huge entourage, and you'd start to feel like you were in some insane mobster movie, and all the bad things about the place would feel glamorous and cool...All the girls lined up in one long row to dance for Usher."
In the movie: After the financial crisis of the late 2000s, Destiny returns to Moves and finds that the dancers are all Russian girls who, she says, are willing to give oral sex for "$300 a pop." That's when she reunites with Ramona and discovers what she, Annabelle and Mercedes are up to: First, one approaches a guy at a bar and buys him a drink, then her "sisters" show up and keep the party going long enough to convince the mark to accompany them to the strip club. If he's hesitant, or just to ensure they can bilk him for all that he's worth, they spike his drink with a dose of ketamine and MDMA. Then they run his credit card to the limit. Ramona has to talk Destiny into being part of it.
The longest-running Hindi film ever literally rewrote the rom-com, as a modernized Romeo-and-Juliet tale with a celebration of Indian culture and an exploration of important issues like liberalization. All that, plus catchy songs and gorgeous dancing in perfect Bollywood fashion. Marie Claire's Neha Prakash did an oral history of the iconic movie (opens in new tab).
One of the most clever teen comedies of all time, 10 Things I Hate About You is a classic for its whip-smart script and hilarious camaraderie between the actors (see: a young Heath Ledger and Joseph Gordon-Levitt). Not to mention all the signature rom-com moments, from epic dance and song scenes (honestly, it's worth watching just to see Heath Ledger's immortal dance number with a marching band) to public declarations of love.
No movie captures the frustration of being in love with your best friend quite like My Best Friend's Wedding, a sublime rom-com starring '90s screen queens Cameron Diaz and Julia Roberts. Roberts plays a 27-year old food critic who realizes she's in love with her best guy friend. When he announces he's getting married to a college-aged student, she decides to subtly sabotage their wedding.
The movie was originally called "Tribal Rites of the New Saturday Night", the title of the "New York" Magazine article that inspired it. The title was ultimately shortened to "Saturday Night", as a direct reference to the fact that Tony (John Travolta) and his friends inhabited 2001 Odyssey on Saturday nights. However, when The Bee Gees submitted the soundtrack, one of the songs, "Night Fever", was thought to embody the film's spirit better than the original. Director John Badham added the word "Saturday" and it replaced the original title.
When Robert Stigwood visited The Bee Gees in France to ask them to write the soundtrack, they were busy mixing a live album. The group declined an offer to read the script but said they already had several song titles in mind, such as "Stayin' Alive", "Night Fever" and "How Deep Is Your Love?", but nothing else. Three days later a tape was delivered to Stigwood in London containing demo versions of all the songs. These were used as playback on set and to choreograph and shoot the dance sequences to. However, in post-production a major problem arose when the final versions of the songs were delivered and the editor found they were slower in tempo than the demos used on set and consequently the dance sequences were out of time with the new recordings. After much concern that the film was in jeopardy, a way was eventually found by the sound editors to sync the footage accurately with the final soundtrack.
Originally, director John Badham filmed the dance rehearsal sequence with Tony and Annette's characters playing music in the background at the same time with the action and dialogue; a form of production not usually done. The song was "Lowdown" by Boz Scaggs. However, after filming the scene, John Badham got word from Scaggs' people they did not want the song in the picture, and so the sequence was dubbed, with John Travolta and Donna Pescow recording their lines in a vocal booth, and in the end composer David Shire orchestrated an instrumental piece for the sequence; ultimately the song (the title still unknown to this day) was picked up by the National Football Leagues, and used to open and close NFL Monday Night Football (1970) for over 20 years.
A dance sequence between Tony and Stephanie was choreographed and shot to the song "Lowdown" by Boz Scaggs, which was a hit at the time of filming. However, when the producers subsequently approached Scaggs' management for clearance to use the song in the film and on the soundtrack album, they refused. Composer David Shire had to compose a new piece of music with the exact same tempo in order for it to sync with the dance as shot. It was later estimated that the decision to refuse permission for use of the song in the film and on the album cost Scaggs around $5 million in royalties.
While Deney Terrio has been credited with teaching John Travolta how to dance disco, members of the crew, and Travolta himself, credited choreographer Lester Wilson with helping Travolta develop Tony's swagger for the role. "Deney Terrio did show John the moves, and I give him credit for that. But I don't think Lester Wilson got nearly the credit that he deserved," Paul Pape, who played Double J, told "Vanity Fair" in 2007. "The movie was Lester."
The music in this film was so irresistably "dance-able" that the staff at many of the theatres playing it found themselves not only dancing to it in theatre lobbies, but in some cases going so far as to actually choreograph and perform their own dance routines, to the delight of audiences attending the movie.
John Travolta and the other actors were not actually dancing to The Bee Gees when they filmed the dance sequences. The disco Bee Gee music was added in post-production; they were actually dancing to Stevie Wonder and other Motown hits of the time; Some of the film's most iconic scenes involve Tony and Annette dancing to Bee Gees mega-hits including "You Should Be Dancin'" and "More Than a Woman"--but the Bee Gees had no involvement in the film during production. "We were recording our new album in the north of France. And we'd written about and recorded about four or five songs for the new album when [producer Robert Stigwood] rang from L.A. and said, 'We're putting together this little film, low budget, called "Tribal Rites of a Saturday Night". Would you have any songs on hand?'" remembered Robin Gibb in the book "The Bee Gees". "And we said, 'Look, we can't. We haven't any time to sit down and write for a film.' We didn't know what it was about." Eventually the brothers agreed, and wrote most of the soundtrack in a single weekend. So if Travolta wasn't dancing to the Bee Gees, what music was backing his monster moves? In a later interview he revealed, "Stevie Wonder and Boz Scaggs."'
This began Hollywood's dancicle phase; after going through a long musical phase from the 30s to the 60s. (A dancicle is a musical that focuses on dance rather than singing). Other movies that would follow in the dancicle cycle: Flashdance, Footloose, Breakin, Breakin 2,;Dirty Dancing, Urban Cowboy and Step Up. Eventually Hollywood would drop dancicles and switch back to musicals. In the early 2000s, right about the time all the High School Musical became popular and Moulin Rouge came out.
More Than Just Lightning In A Bottle: A historical and unique cinematic phenomena, "Saturday Night Fever" was a cultural colossus that could never be duplicated or equaled, not even by the most publicly famous and celebrated instigators of it's conception. Almost to the letter, Robert Stigwood, The Bee Gees, John Travolta, screenwriter Norman Wexler, and director John Badham would never creatively transcend the staggering impact the original movie made around the world, and almost immediately and collectively suffered tremendous failure and public disdain in the wake of it's unprecedented artistic, critical, popular, and financial success. Stigwood never regained his massive power as a producer in Hollywood due to the shocking disaster of 1978's "Sgt. Pepper's Lonely Hearts Club Band"; The Bee Gees, also tainted by their association with the project, would never again create another soundtrack, song, or record that came anywhere near provoking the kind of overwhelming pop-cultural zeitgeist that "Saturday Night Fever" did, not even with their 1979 follow-up album "Spirits Having Flown"; Travolta would suffer an extraordinary and almost career-ending fiasco with the third film in his contract with Stigwood, 1978's "Moment By Moment", and never again be critically placed as an actor in the same league with the likes of a young Marlon Brando or James Dean; Norman Wexler would never again write another successful screenplay that contained such a powerfully uncompromising sociopolitical critique within it's pages; and director John Badham, who followed up "Fever" with 1979's highly anticipated big-budget remake of "Dracula" (which at the time received a less-than-stellar critical and public reception) never again would rise to any level beyond being considered a serviceable journeyman director rather than an artistically bold and daring "auteur", despite subsequent box-office successes like 1983's "WarGames" or 1987's "Stakeout". In addition, the 1983 sequel "Staying Alive" with Travolta resurrecting his Tony Manero character was voted one of the worst sequels in cinematic history. 2ff7e9595c
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