Chilean filmmaker Pablo Larrains alarming Tony Maneroset in the dark days of the Pinochet regime and named not for its protagonist but rather his ego-ideal, John Travoltas character in Saturday Night Feveris a study of a cinema-struck, solitary daydreamer in which an unsmiling 50-ish madman nurtures fanatical Bee Geesfueled fantasies of disco glory. Played with total focus by stage actor Alfredo Castro (who co-wrote the screenplay), Raúl Peralta attends his favorite movie as if it were Sunday masssometimes bringing along his talismanic white suit as though it, too, needed to study Travoltas moves. Raúl not only internalizes Tonys version of the American Dream, but memorizes Tonys lines for use in the four-actor version of Saturday Night Fever hes staging in a grungy Santiago cantina. Raúls obsession is complemented by a total disinterest in any human contact. Indifferent to Pinochets shabby police state, this ferret-like wannabe stops at nothing in his quest to be Chiles Tony Manero. He violently appropriates an elderly ladys color TV, spontaneously rips up the cantina to create space for a glass-tile floor, runs amok when he discovers that the theater he frequents has replaced Saturday Night Fever with Grease, and, most grotesquely, befouls a rival impersonators white suit. Feasting on this bizarre fascist posturing, Larrain suggests that, with his sordid charisma, Raúl is a miniature Pinochetreproducing the brutality of the state in his willingness to steal, exploit, betray, and kill in the service of a fantasy.
Sept. 11-17, 2009