Three Italian-American brothers, living in the slums of 1940's New York City, try to help each other with one's wrestling career using one brother's promotional skills and another brother's con-artist tactics to thwart a sleazy manager.
After a single, career-minded woman is left on her own to give birth to the child of a married man, she finds a new romantic chance in a cab driver. Meanwhile, the point-of-view of the newborn boy is narrated through voice-over.
In this sequel to Saturday Night Fever, former disco king Tony Manero has left Brooklyn and lives in Manhattan. He stays in a cheap hotel and works as a dance instructor and as a waiter at a dance club, trying to succeed as a professional dancer on Broadway. The breakaway from his Brooklyn life, family and friends seems to have matured Tony and refined his personality, represented by his diminished accent and his avoidance of alcohol and profanity. However, certain attitudes have not changed, as with his most recent girlfriend, who's also the singer of a local rock band.Written by
Mark J. Popp <email@example.com>
In this sequel to Saturday Night Fever, we find Tony (Travolta) struggling to make it as a dancer on Broadway. He does get his break, and now he is forced to juggle two women, one sweet and nice, the other cold, but who could make his career. It is somewhat obvious that Travolta was lacking in film roles during this period, because most people would have to be forced to do a movie like this. All the good supporting characters from the original are gone and the new ones are one-dimensional and boring. The music is laughable and the Broadway "numbers" that Travolta and Hughes perform in are pure schlock. This movie's biggest problem is that it was made too late into the 80s. The era of the first movie was over, so the story plays like an obituary. It is not awful, just boring and tiresome to watch. Stick with Saturday Night Fever, and simply pretend there is no sequel.
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