“No Thanks Required, This Disco Stuff Has Absolutely Nothing To Do With Me” – a humorous sentiment that any deity might express when faced with the dazzling, often over-the-top, world of 1978 disco. Robert Klane’s film, Thank God It’s Friday, aimed to capture the electric energy of 1970s Los Angeles club life, drawing comparisons to American Graffiti but with a distinctly disco flavor. While it aspired to be the next Saturday Night Fever, it arguably became a unique, if somewhat kitschy, piece of cinematic history, even surprisingly winning an Oscar for Best Song, “Last Dance.” Beyond Saturday Night Fever, disco movies often struggled to resonate with wider audiences, yet Thank God It’s Friday offers a treasure trove of infectious dance tracks and a glimpse into the early careers of stars on the cusp of major fame. If you’re searching for the ultimate “it’s friday the song” vibe, this movie’s soundtrack and atmosphere are a great place to start, even if the film itself is a bit of a wild ride.
The scene is set: it’s Friday night, and everyone in town is flocking to the hottest nightclub, possibly named “Disco Disco Disco Disco,” or perhaps “Zoo” – the signage is a delightful mystery. Inside, DJ Bobby Speed (Ray Vitte), “the man in the glass booth,” is spinning the soundtrack to the weekend, drawing in crowds for the club’s smoothie-loving owner, Tony Di Marco (a young, incredibly charismatic Jeff Goldblum). Speed’s setlist is packed with floor-fillers like Giorgio Moroder’s “From Here to Eternity,” setting the stage for a Studio 54-esque dance floor populated by, as one observer notes, “penguins, polar-bears and all kind of frozen ephemera.” Another patron, in a moment of pure 70s logic, describes the scene as “Disneyland for kids”; leaving one to wonder, are there other types of Disneyland we’re unaware of? Adding to the sensory experience, one young woman vividly compares the restroom aroma to “my brother’s bedroom,” which, let’s assume, isn’t intended as a compliment. This chaotic yet captivating atmosphere perfectly encapsulates the energy of “it’s friday the song” spirit, even if the descriptions are a little…unconventional.
Jeff Goldblum in Thank God It's Friday, showcasing the film's disco era club scene
Prepare to witness an abundance of hand-stamping, a recurring motif in Robert Klane’s film, which also marks an early project for Fast and Furious producer Rob Cohen. The excitement steadily escalates towards a high-energy performance by Lionel Richie and the Commodores, belting out their hit “Brick House.” The soundtrack, a sprawling five-vinyl affair, also features their smoother classic, “Easy.” Richie appears to be genuinely enjoying himself, although their flamboyant, Starfleet Commander-inspired costumes, as seen above, might unintentionally evoke comparisons to Key and Peele’s hilarious “Funky Nonsense” parody. Goldblum’s character makes a memorable entrance by expertly cutting the queue, injecting genuine, intense energy into his seduction scenes. However, even his charisma is slightly overshadowed by a giant inflatable toucan looming nearby. Similarly, a pre-fame Debra Winger grapples with the weighty question of polyester’s dance floor etiquette while navigating under a giant ostrich, ultimately taking a comical tumble headfirst into a table laden with questionable snacks. These moments of absurdity are part of the film’s charm, adding a layer of quirky humor to the “it’s friday the song” celebratory vibe.
“I’ve only got one dime and I need it to call my therapist,” This gem of dialogue perfectly captures the undercurrent of quiet desperation beneath the surface of the club-goers’ frantic pursuit of weekend thrills. The film hints at a world of laughing gas and general drug use, all within a “Krazee with a K” environment. Stuffy, conventional types undergo transformations into coked-up disco enthusiasts, and even those accidentally trapped in a stairwell are happy to embrace the boogie and exchange hilariously dated, “hip” banter like, “Don’t be such a worrywart! …Do you mind if I call you Babakazoo?” The club’s philosophy seems to be, “You are what you hear,” and in walks Donna Summer, not just hearing Donna Summer, but actually being Donna Summer. Yet, arguably, the acting accolade goes to “Leatherman” Marc Gomez (Chick Vennera), whose iconic car-park strut sets a new benchmark for cinematic silliness. These over-the-top characters and situations contribute to the film’s overall sense of chaotic Friday night fun, making it a fitting, if exaggerated, visual representation of the “it’s friday the song” feeling.
It remains a puzzle why so much screen time is dedicated to characters riding in elevators, especially considering the building appears to be only three stories tall. But logic takes a backseat to the Pierre Cardin shirts, the expertly applied lip gloss, and the overall visual spectacle. This elevator obsession does, however, set up Goldblum’s opening line to an employee in a gorilla suit (pictured above): “Look like a monkey or run the elevator – one or the other!” As a weary cleaner begins sweeping up the remnants of the night and the “Last Dance” finally begins, the harsh light of dawn reveals Thank God It’s Friday for what it is: a blast from the past, a lightweight, high-energy disco promotional piece that felt dated even by 1979. Today, it’s a time capsule, but perhaps “the type of time capsule that looks like it’s full of stinking mud but turns out to have some actual valuables hidden away inside.” For those seeking to visually and aurally capture the essence of “it’s friday the song,” Thank God It’s Friday, with all its flaws and fabulousness, offers a uniquely 70s disco experience.
