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Zigelstein, J. (1997) 'Staying alive in the 90s: (John) Travolta as star and the performance of masculinity', CineAction, (44), 2-11.

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Zigelstein, J. (1997) 'Staying alive in the 90s: (John) Travolta as star and the performance of masculinity', CineAction, (44), 2-11.

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As stated by Zigelstein; John Travolta’s image can be simplified in his early career (Saturday Night Fever) as “condensed into a single still image of the star in his "white suit and platform heels, a human clock forever stuck at four, with his right arm pointed vertically at the ceiling, his left diagonally at the dance floor" (Cohn 191).

Whereby this ensures that Travolta is the “object of the erotic spectacle” and therefore feeds into the heavy sexualisation created of Travolta at the beginning of his career.

Although, not only can Travolta be described as being sexualised in Saturday Night Fever but also feminised as his character’s costumes consist of heeled boots, skin-tight trousers, and open-chest silk shirts.

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Heartthrob Travolta continued boosting his career in his musical debut with Olivia Newton-John.

“Grease would shatter box-office records and go on to become an international phenomenon, confounding and irritating the entire industry. “We were not chic,” Channing says. “We were a high-school movie, and there was sort of this ‘Look at them making all that money.’ It was kind of resented.”
- Michael Callahan, Vanity Fair, 2016.

Grease made grosses of $160 million that year (1978).

Overall deeming Grease a very obvious commercial success.

A commercial success to this degree kept Travolta's position in Hollywood at a high, ensuring a steady increase in roles for the now very popular actor.

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This film is arguably the greatest revival of a very nearly dead-end career of Travolta’s.

To have been casted by such a high brow director like Tarantino further suggests Travolta’s career wasn’t over as Tarantino would never cast a dead-end actor to be at the forefront of his film.

The cast itself carries high-end actors such as Samuel L. Jackson, and Bruce Willis who themselves are arguably household names in Hollywood. Whereby, Travolta’s involvement suggests his capability of an actor is just as impressive as theirs.

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Travolta's role as Tony Manero in 'Saturday Night Fever' kept reviews high for Travolta's acting, singing, and dancing abilities.

The film evidently proved the ideal that Travolta was a triple threat at the beginning of his career.

Gene Siskel, the notoriously famous film critic between the 60's-90's, himself revealed that 'SNF' was his favourite film and that he had watched it 17 times.

Thus proving that Travolta excelled in his role as 'Tony' and the film accelerated his 'popular star' image in the media.

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Extreme influence is placed upon Travolta’s looks and figure, which feeds into the teenage ‘heart throb’ persona as well as the sexualisation of Travolta.

Once again, Travolta is seen topless in some magazine covers and is described as ‘Hunk of the Month’ while his shirt is half unbuttoned showing the audience his chest.

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Band-Aid bandaid Commercial - 1970's - John Travolta

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Travolta’s debut commercial for ‘Band-Aid’, which his heart-throb persona is at the forefront as the ad shows a topless Travolta in the shower. His cheeky-chappy personality is reinforced in the commercial further as the audience can see Travolta laughing along with the other men in the shower, playing around.

This advert being another example to how Travolta was sexualised in the media in his early career by his roles primarily keeping him partially naked or in very fitted outfits.

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Band-Aid bandaid Commercial - 1970's - John Travolta

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The luxury watch brand furthered the new opulent re-branding from a once 'heart-throb' to a now strong, independent figure in the media.

It is obvious there has been a development in the way Travolta presents himself to the media as his adverts for the luxury brands present him fully clothed with a professional look and pose. This contrasts heavily to how he presented himself in the 70’s.

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Travolta's branding underwent a large development from becoming an Ambassador for Qantas Airlines in 2002. The brand itself is held to a high regard and is overall described as a prestigious airline. Travolta himself stated that "the QANTAS brand around the world is very strong".

Travolta was brought by Qantas on their 'week-long tour of Dubai' to represent the airline in their 'pivotal time in the airline's history with its new services to Dubai'.

This is a gravely influential brand for Travolta to represent as it suggests that his star image embodies similar attributes.

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Negative comments from critics swarmed the film deeming "the embarrassing failure of the film put Travolta's career in hibernation for nearly a decade".

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After ‘Perfect’, Travolta didn’t appear in another feature film until the ill-fated 1989 comedy film; ‘The Experts’.

This film was completely ignored by audiences and derided by critics, who had began referring to Travolta in the past tense.
- David Grove 2023.

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The continuation of bad film after bad film suggests to the fans and reception of Travolta that not only his glory days are declining but potentially over.

This suggests that Travolta’s ‘hunk of the month’ glory days are coming to a close as even films such as ‘Perfect’, that show him half-naked and arguably desirable, no longer impress his fan base or the box-office.

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Travolta’s character of Vincent Vega was transformed into a ‘Funko Pop’ collectibles item, which suggests that not only Pulp Fiction was a hit but so was Travolta’s performance.

The Vincent Vega figure is listed at $391.64 in comparison to the Mia Wallace figure which is only listed at $18.52 according to the ‘Toyopia’ website.

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Critics defined ‘Pulp Fiction’ in numerous ways but in particular Travolta’s performance was definitely a focal point.

Peter Travers, ‘The Rolling Stone’ received his performance as “dynamite”. He further stated that “John Travolta and Bruce Willis can consider their careers revived.”

This review having been published on 'The Rolling Stone' website further enhances Travolta's comeback as this online magazine has a varied demographic of all ages and therefore a high credibility in reviewing numerous types of media.

To speak of Travolta's performance so avidly, readers would be inclined to either watch Tarantino's masterpiece and/or begin to re-evaluate Travolta as a respectable actor once again.

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Now that Quentin Tarantino's Pulp Fiction has won the Palme d'Or at Cannes, opened the New York Film Festival and made the former video-store clerk a name to suck up to big time in Hollywood, you're probably thinking the writer-director of Reservoir Dogs has sold out his renegade ass. Think again. The proudly disreputable (cost: a measly $8 million) is the new King Kong of crime movies. It's an anthology that blends three stories and 12 principal characters into a mesmerizing mosaic of the Los Angeles scuzz world. The acting is dynamite: John Travolta and Bruce Willis can consider their careers revived. Buoyed by Tarantino's strafing wit, the action sizzles, and so does the sex. Pulp Fiction is ferocious fun without a trace of caution, complacency or political correctness to inhibit its 154 deliciously lurid minutes.

That said, Tarantino's twist on the pulp genre is also damn near a work of art. At 31, he shows a disdain - rare among his peers - for flashy style and lofty pretension. His passion is for storytelling that allows the most outrageous characters to reveal their feelings in long takes and torrents of words, poetic and profane. Tony Scott's glossy direction blurred the Tarantino script for True Romance, and Oliver Stone obliterated Tarantino entirely in Natural Born Killers.

Pulp Fiction proves that Tarantino is the ideal director for preserving the verbal rhythm and wicked playfulness of his scripts. He revels in pop culture, especially that of the 70s, and he's no snob; The French New Wave or blaxploitation, The Wild Bunch or The Brady Bunch - it's all grist. Unlike other raiders of Hitchcock, Howard Hawks and Sam Fuller, Tarantino has found his own voice.

He has also found censure. The ear-slicing scene in Reservoir Dogs, his stunning 1992 debut film about a jewel heist, made him the whipping boy for film violence. A graphic adrenalin shot to the heart in Pulp Fiction will raise more hackles. Such hand wringing only blinds audiences to Tarantino's underrated and powerfully suggestive gift for language. Do yourself a favor with Pulp Fiction. Don't just watch, listen.

Take an early scene between Travolta's Vincent Vega and Samuel L. Jackson as his hood partner, Jules Winnfield. Decked out style in dark suits, they are about to bust in on some preppy amateurs who stole something belonging to their badass boss, Marsellus Wallace (the excellent Ving Rhames). But before the job, they talk - casual stuff, but it's how they define themselves. Jules can't figure why Marsellus tossed a buddy off a balcony for giving Marsellus' bride, Mia (Uma Thurman), a foot massage. "It's laying hands on Marsellus' new wife in a familiar way," says Vincent. "Is it as bad as eatin' her out? No, but you're in the same fuckin' ballpark."

The debate on sexual etiquette is hilarious; they could be two pals driving to work, except their work is crime. "Let's get into character," says Jules, before he and Vincent bust in on the preps. Vincent radiates silent cool, while Jules raves on about "furious anger." It's a coldblooded thing he says for effect. The source isn't a movie; it's the Bible - a sly irony that spills over into sinister when Jules suddenly shoots one boy for effect. The victim isn't a disposable Hollywood bad guy; he's a scared kid. We are staggered. But not Jules and Vincent. They have turned murder into performance art. It doesn't touch them. Or does it? Jackson's astounding portrayal reveals that Jules is developing a conscience.

It is Tarantino's considerable achievement to show what it takes for these men to play their roles as killers. For Vincent, it's drugs. Marsellus orders Vincent to take Mia out for dinner while he's out of town. To calm his nerves, Vincent stops off to score heroin from Lance (Eric Stoltz), a dealer with a wife (Rosanna Arquette) who has pierced her body with studs in 16 places, even her tongue.

Vincent needs help getting through the night. Mia takes him to Jack Rabbit Slim's, a diner filled with '50s movie memorabilia. Vincent orders a Douglas Sirk steak, while Mia hits the ladies' room to powder her nose with coke. Cinematographer Andrzej Sekula and editor Sally Menke show dazzling craft, but Pulp Fiction is an actors' show. The usually glassy Thurman is marvelous here, seductively scrappy as she teases Vincent for gossiping with Jules ("You're worse than a sewing circle"). Best of all, she gets him to the dance floor for a twist contest. Travolta is doughier than in his Saturday Night Fever days, but even playing a junkie reptile he exhibits amazing grace. His slow dance with Mia to a Chuck Berry oldie exudes down 'n' dirty eroticism and unexpected romantic longing. Travolta makes a spectacular comeback with this brilliant, intuitive performance.

Willis, as boxer Butch Coolidge, also digs into his tastiest role in years. Marsellus sends Vincent to kill Butch for refusing to take a dive. But the mean palooka, reformed by his love for a French chatterbox, Fabienne (Maria de Medeiros), has skipped town. Almost. Butch risks returning for a gold watch. His late father had that watch hidden up his ass in a Nam prison camp, according to Dad's buddy (Christopher Walken). Going back gets Butch involved with Marsellus and two hillbillies who tie them up for a bout of buttfucking.

Suffice it to say, the revenge isn't pretty. Neither is the mess when Vincent accidentally blows the head off a guy in the back seat of the car Jules is driving. The cleanup, supervised by a courtly mob facilitator called the Wolf (Harvey Keitel in peak form), takes place in the garage of Jules' pal Jimmie (a memorably miffed Tarantino), who wants these gangsters out before his nurse wife Bonnie comes home. "The Bonnie Situation" is the film's comic high point, as tough guys are reduced to frightened boys at the prospect of a woman's wrath.

But Tarantino is after more than laughs. Near the end, Jules - sitting in a coffee shop with Vincent - enjoys a "moment of clarity" about changing his life. Unfortunately, two small-time crooks played by Tim Roth and Amanda Plummer choose that moment to rob the place. Chaos ensues, though Tarantino never loses his film's moral center. He refuses to patronize, glamorize or judge his band of outsiders. Instead, he lets us see the glimmers of humanity that emerge when they drop their masks of control. It's Tarantino's compassion that deepens the film and sets it apart from trendy, pud-pulling, cinematic nihilism. It also sets Tarantino apart as a major filmmaker, worthy of comparison to early Godard ( Bande a Part) and Scorsese ( Mean Streets). There's a special kick that comes from watching something this thrillingly alive. Pauline Kael calls it "getting drunk on movies." Whatever you call it, Pulp Fiction is indisputably great.

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Peter Travers proclaims "'Pulp Fiction' is indisputably great."

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Several critics left Travolta out of their reviews entirely and instead only focussed on the larger names such as Samuel L. Jackson.

“(Tarantino’s) actors are ahead of the game: Samuel L. Jackson and Maria de Medeiros, and even a nicely troubled Bruce Willis, fight to flesh the movie out with warm-blooded gestures of feeling. That is what makes Pulp Fiction such an intriguing spectacle”

- Anthony Lane, The New Yorker (2014).

The disregard of Travolta in this review could impose on the readers that Travolta’s performance wasn’t only unimpressionable on viewers but entirely forgetful. This suggests that his performance was upstaged by other cast members as was his role in ‘Perfect’ next to Jamie Lee Curtis.

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The ‘Today show’s’ Gene Shalit called the movie “visual junk food.” ‘The New York Daily News’s’ Rex Reed, said Grease “should really be covered on the obituary page,” that it had been made “by nitwits who haven’t the faintest idea what a camera is,” that its music was “atrocious,”.

- Vanity Fair, Michael Callahan : (2016)

This type of critical reception could potentially be very damaging to Travolta’s star image and could be the reason positive reception to his role in ‘Perfect’ was so minimal.

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A development of Travolta’s onscreen persona from a predominantly feminine persona in Saturday Night Fever to Danny Z’s masculine, bad boy persona in Grease. As his character is seen in all dark clothing, talking sexually about women and who’s main personality trait is looking ‘cool’ in front of his group.

Although, Travolta’s persona in Grease is still arguably somewhat feminine as his character cares highly of his physical perception from his peers. Whereby this could be portrayed as a female typicality within the media.

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Still of Travolta in (Saturday Night Fever):

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Award Nominations / Wins for Pulp Fiction: 

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Award Nominations / Wins for Pulp Fiction: 

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Travolta:
1. 1995 OSCAR nominee:
- (Best Actor in a Leading Role).

2. 1995 AMERICAN COMEDY AWARD nominee:
- (Funniest Actor in a Motion Picture Leading Role.

3. 1995 BAFTA FILM AWARD nominee:
- (Best Actor)

4. 1995 CFCA AWARD nominee:
- (Best Actor).

5.  1995 DAVID DI DONATELLO AWARD winner:
- (Best Foreign Film).

6. 1995 GOLDEN GLOBE nominee:
- (Best Performance by an Actor in a Motion Picture):

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Pulp Fiction (1994) - Awards, nominations, and wins

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After John Travolta’s son, Jett Travolta, passed away from a seizure at aged 16, Kelly Preston and John Travolta set up a non-for-profit memorial foundation in his name.

The foundation is described to “assist and provide relief to children with vision, hearing, mobility, communication, behavior learning impairments or other special medical, environmental, health or educational needs," according to their website.

Whereby, the start-up of this organisation positions Travolta as a charitable star who uses his fortune for the less fortunate.

This positions Travolta as a family man within the media developing his celebrity persona further to show a loving, caring father. Upon the loss of his son, and the media receiving the pain one could feel losing a loved one - Travolta becomes more relatable to what his audience could have experienced themselves.

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Travolta signed a wooden dog bone for an auction benefitting the Mississippi Animal Rescue League.

He wrote the forward and appeared in the book, Pets and Their Celebrities, to help raise awareness and money for Last Chance for Animals.

Charities Supported:

21st Century Leaders

Barbara Davis Center for Childhood Diabetes

Children with AIDS

Citymeals On Wheels

End Hunger Network

Harry Holmberg Memorial Foundation

Jett Travolta Foundation

Last Chance for Animals

Luke Neuhedel Foundation

Make A Child Smile Appeal

Mississippi Animal Rescue League

Red Cross

St. Francis Food Pantries and Shelters

St. Jude Children's Research Hospital

St. Vincent's HealthCare

Whatever It Takes

- According to ‘Look to the Stars’:

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Travolta’s Instagram account is flooded with pictures of family and ex-wives who he pays tribute to regularly.

This puts a family-man persona at the forefront of his media presence which coincides with Travolta’s persona development from heartthrob to bad boy to professional businessman.

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Travolta using his social media presence to reinforce his charitable persona alongside his family who employ the same values.

The importance of the charity event being hosted by Jamie Lee Curtis shows Travolta’s personality of staying true to his roots by continuing to support old age friends even from the start of his career.

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Travolta shared an instagram reel of his family holiday to Japan.

This allows his followers to gain a sense of authenticity from his Instagram, as they would feel they are being shown a side that’s personal to Travolta and his family.

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Grease (10/10) Movie CLIP - Thunder Road (1978) HD

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Evidence of Travolta’s bad boy persona by car racing another ‘bad boy’. Travolta’s character is then rewarded with praise from his group and love interest showing the audience a desirable view of this persona.

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Grease (1978) - Thunder Road Race Scene (10/10) | Movieclips

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T-Mobile Super Bowl Commercial (2023) Featuring John Travolta

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The advert makes reference to 'Grease' hit songs and famous movements, reminding the audience of the popular film and creates a sense of nostalgia.  Super Bowl adverts which are viewed by millions reinforces the media contact Travolta's image will be received by the media and audience.

The environment of the advert shows the three celebrities dancing around an idealised family neighbourhood reinforcing the 'family-man' attribute Travolta currently embodies.

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T-Mobile Super Bowl Commercial (2023) Featuring John Travolta

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Behar. R (1991) "Scientology: The Thriving Cult of Greed and Power" pp. 52-60. 

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Behar. R (1991) "Scientology: The Thriving Cult of Greed and Power" pp. 52-60. 

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This article states that “Scientology poses as a religion but really is a ruthless global scam.”

“Eleven top Scientologists, including Hubbard's wife, were sent to prison in the early 1980s for infiltrating, burglarizing and wiretapping more than 100 private and government agencies in attempts to block their investigations.” (p.52).

“In various cases, judges have labeled the church "schizophrenic and paranoid" and "corrupt, sinister and dangerous." (p.52).

Travolta being associated with such an establishment could be damaging to his career in Hollywood and his fans' overall reception of him.

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John Travolta Talks About Scientology on Charlie Rose Show (2005)

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The use of Travolta’s interview outlines to the media that he is not ashamed of being part of the Church of Scientology which in turn brings honesty to the forefront of his image.

Travolta challenges incoherently the “black and white” sides there is expected to be within the church. Whereby this is achieved through a calm tone shared between himself and Charlie Rose while discussing the topic.

The tone and setting of conversation embodying a relaxed environment suggests to viewers that despite extreme criticism of the church, there could be an innocent side to these ongoing claims.

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John Travolta Talks About Scientology on Charlie Rose Show (2005)

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John Travolta's relationship with Scientology - 'breaking away' and tragic loss. 

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Breaking Away from Scientology Allegations: 

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Breaking Away from Scientology Allegations: 

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This article outlines the possibility of Travolta breaking away from the church after the loss of his wife.

Travolta states that although he's been through so much loss, the church was able to get him through it, and for that, he will forever be grateful.

Thus proving a loyal characteristic of his personality toward his faith which is an appealing trait for his star image.

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John Travolta is one of the most famous names attached to Scientology but the strain of recent years has led to reports he may have already begun the process of 'breaking away' from the church.

The 67-year-old actor joined the controversial religious movement in 1975.

John has been paraded as a famous celebrity follower in the many years since but over the past 12 months, cracks have allegedly begun to show.

In the latter months of 2021, various reports began to circulate that John was 'ready to ditch the church' following the death of his wife of 29 years Kelly Preston in July 2020.

The Twins actress passed away aged 57 from breast cancer.

So, what is John's relationship with the Church of Scientology like today?

Previous faith

Having joined the Church of Scientology almost 50 years ago, John was listed as one of the most successful scientologists on the religion's website as of August last year (via US Magazine).

On the site, he was reportedly quoted as saying: "As a Scientologist, I have the technology to handle life's problems and I have used this to help others in life as well.

"I would say Scientology put me into the big time."

Later that month, however, John sold his home near Scientology headquarters in Florida - fuelling speculation that he may be stepping away from the church.

'Breaking away'

In the latter months of 2021, reports began to emerge that John was 'possibly breaking away from the church'.

Indeed it was widely reported that the Grease star was looking to 'step away from everything' - including his faith as he processed the death of his wife Kelly.

A source reportedly told OK! Magazine (via Central Recorder): "It's no secret Kelly was the more ardent Scientologist.

"Now, there are whispers that John could be ready to ditch the church."

Another source is alleged to have told In Touch (via Suggest): "He's going to be stepping away from everything for a while."

'Tragic loss'

Kelly and John married in 1991 and went on to have three children together - Jett, Ella, 22, and Benjamin, 11.

In 2009, the family suffered their first heartbreak when 16-year-old Jett died from a seizure while the family were holidaying in the Bahamas.

John was later devastated by Kelly's death from cancer in 2020.

Speaking last year, he told Esquire Spain: "I have learned that mourning someone, mourning, is personal.

"Mourning is individual and experiencing your own journey is what can lead to healing."
For more of the latest showbiz news from Daily Star, make sure you sign up to one of our newsletters here.

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John Travolta's relationship with Scientology - 'breaking away' and tragic loss

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John Travolta joined the Church of Scientology in 1975 but reports last year alleged that he was considering 'breaking away' from the religion following the death of his wife Kelly Preston

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Travolta is shown in this interview defending Scientology as it being a leading role in surviving the loss of different members of his family.

This arguably links his faith to him being a 'family man' once again as apparently the church was their for him when he was at his lowest throughout these losses.

Whereby, this could encourage his fans to sympathise with his reasonings of staying with the Church despite the controversy given it aided his mental health.

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Travolta spoke out about the Scientology-bashing HBO documentary on Monday as he promoted his upcoming film The Forger

The Saturday Night Fever star says he won't watch a film by 'disgruntled' ex-members that is 'so decidedly negative'

Travolta says the church helped him get through the 'loss of children, loved ones, physical illnesses...many tough, tough life situations'

John Travolta has broken his silence on the controversial Scientology exposé Going Clear and says he never intends to watch the documentary.

Speaking to the Tampa Bay Times while promoting his upcoming film The Forger, Travolta said his decades of personal experience in the organization have been nothing but positive--nothing like the blackmailing, physically abusive cult portrayed in the film.

'I haven't experienced anything that the hearsay has (claimed), so why would I communicate something that wasn't true for me?' he said.

Travolta then spoke for the only celebrity whose dealings with Scientology get more screen time in Going Clear than his own, Tom Cruise.

'It wouldn't make sense, nor would it for Tom, I imagine,' he said. 'I've been so happy with my experience in the last 40 years...that I really don't have anything to say that would shed light on (a documentary) so decidedly negative.'

Those 40 years Travolta has spent as a Scientologist are addressed head-on in the film, which claims that church elders have blackmailed the 61-year-old into being one of their most visible cheerleaders.

But Travolta, despite his refusal to sit through the film, said it's merely a showcase for ex-members 'who were disgruntled with their experiences' with Scientology.

'I've been brought through storms that were insurmountable, and (Scientology has) been so beautiful for me, that I can't even imagine attacking it,

'Why would I even approach a negative perspective? That would be a crime to me, personally, to do that,' he said.

Scientologists hold a 'blackmail file' on John Travolta to stop him leaving the faith, which includes 'damaging material' from his sessions with auditors at the church, the doc claims.

The film features a number of allegations about how members are threatened and tortured in prison-style camps and cut off from their family if they decide to leave Scientology.

Others belonging to the most senior order of the faith have been forced to play musical chairs to the sound of Queen's Bohemian Rhapsody in a fight to secure a chair to stay in the church, it was claimed.

The claims have been disputed by the Church of Scientology who have branded those who featured in the show - many former senior members - as 'admitted' liars and perjurers and 'professional anti-Scientologists.'

Directed by Alex Gibney, Going Clear aimed to expose the secrets behind the mysterious faith followed by thousands of people including Travolta and Tom.

It included interviews with former senior members and officials who made explosive claims about punishments endured by members and how followers have been manipulated.

These included descriptions of a 'prison camp', revealed by former member Sylvia 'Spanky' Taylor. People put into this camp are forced to do around 30 hours of hard labour, broken up by three hour rest breaks.

Spanky was once the point of contact between the Church and Travolta and said she was sent to this 'prison camp', known as the Rehabilitation Project Force which, she claims, is where members are 'reindoctrinated.'

The documentary also claimed Scientology chiefs hold a 'black PR package' on Travolta, with all the disclosures he made during auditing sessions. During these sessions a trained auditor asked pointed questions such as 'What are you willing for me to talk to others about?'

Travolta is said to have requested that his sessions were not filmed, but secret cameras were allegedly installed anyway.

As well as the claims about Travolta, former senior members of the faith told documentary makers about the various forms of punishment meted out by leaders.

Another form of punishment involved members of the highest ranking order within the Scientology church, Sea Org, whose members are said to be punished by being thrown in 'The Hole'.

As well as beatings in 'The Hole', they are allegedly also subjected to demeaning tasks including mopping up the floor with their tongue to force them to confess their crimes against the Church.

Others are apparently ordered to play musical chairs to the sound of Queen's Bohemian Rhapsody - fighting each other for chairs which allow them to remain in the church, with losers being expelled.

Being expelled from the Church of Scientology comes at a high price, because all friends and family that are still with the religion are forced to cut any ties with departing members.

Scientology is believed to be one of the reasons behind the breakdown of Tom Cruise's marriage to Katie Holmes because he was understood to have wanted to send their daughter Suri to Sea Org, according to reports at the time. In an interview with the New Yorker in 2012, Scientology spokesmen denied the claims.

The Church of Scientology, which is believed to have around 50,000 members, denied the allegations featured in Going Clear and said the statements included were 'entirely false.'

In a statement it said: 'The Church has documented evidence that those featured in Gibney's film regurgitating their stale, discredited allegations are admitted perjurers, admitted liars and professional anti-Scientologists whose living depends on the filing of false claims. All have been gone so long from the Church they know nothing of it today.

'Yet Gibney and HBO stonewalled more than a dozen requests by the Church to offer relevant information about them, with more than 25 individuals with first-hand information eager to speak. To this day, neither HBO nor Gibney can deny that they have yet to present the Church with a single allegation from the film so the Church may have an opportunity to respond. The Church never sought special treatment, only fair treatment.'

Since Going Clear premiered at the Sundance Festival in January, the church has created a website dedicated to criticising the film and released its own version, called 'Get the truth.' Representatives also branded the documentary a 'bigoted propaganda piece.'

Other famous members have also criticised the show. Danny Masterton, a second generation Scientologist and former star of 'That 70s show', said he thought the book the documentary was based on was full of lies.

He told eonline: 'I wonder if Sundance would allow a documentary of, like, eight people who hate Judaism. But you know, my religion's fair game, I guess, "cause it's new".'

At the end of the documentary Gibney lists the people who refused to be interviewed, which included Miscavige, Travolta, Cruise and Kidman.

MailOnline has contacted John Travolta for comment.

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John Travolta breaks silence on Scientology doc Going Clear

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Travolta spoke out about the Scientology-bashing HBO documentary on Monday as he promoted his upcoming film The Forger.

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John Travolta's career has run over five decades, whereby he has undergone numerous highs and lows which will be explored. His different pathways highlight the multiple images he has embodied throughout his career.

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John Travolta's career has run over five decades, whereby he has undergone numerous highs and lows which will be explored. His different pathways highlight the multiple images he has embodied throughout his career.

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Travolta's Career Nearly Destroyed by a 1985 Flop: 

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Travolta's Career Nearly Destroyed by a 1985 Flop: 

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This article describes the decline of Travolta's career.

"After "Perfect," Travolta struggled to find success with his next film, "The Experts," which was completely ignored by audiences and criticized by reviewers. This marked the beginning of a period where Hollywood stopped taking Travolta seriously."

The film 'Perfect' was far from a comercial success as the film grossed less than £13 million despite its production cost of £20 million. For Travolta, starring in such a highly critiqued film, this only damages his career and potential role casts for the future, which this did.

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2023-10-21 08:28:03

John Travolta, once one of the biggest film stars in the world, faced a career slump in the mid-1980s to mid-1990s. This decline can be attributed to the failure of the 1985 romantic drama film "Perfect," which turned Travolta into a joke and caused the public to forget his previous successes in films like "Blow Out," "Grease," "Saturday Night Fever," and "Urban Cowboy."

After "Perfect," Travolta struggled to find success with his next film, "The Experts," which was completely ignored by audiences and criticized by reviewers. This marked the beginning of a period where Hollywood stopped taking Travolta seriously.

Urban Travolta

"Perfect" reunited Travolta with director James Bridges, who previously worked with him on the successful film "Urban Cowboy." While "Urban Cowboy" was a commercial and critical success, "Perfect" focused more on Travolta's character as a journalist and ultimately failed to resonate with audiences.

In contrast to his previous successes, "Perfect" grossed less than £13 million against a production cost of approximately £20 million, further contributing to Travolta's career downfall.

Far From Perfect

The failure of "Perfect" was followed by a series of commercial and critical disappointments for Travolta, including "Blow Out," "Two of a Kind," and the "Saturday Night Fever" sequel "Staying Alive." It became evident that Hollywood had lost faith in Travolta's star power.

Despite finding some success with the 1989 film "Look Who's Talking," Travolta's career continued to suffer. Hollywood no longer viewed him as a serious actor.

Back to the Future

Travolta's career took a turn for the better with his acclaimed performance in Quentin Tarantino's 1994 film "Pulp Fiction," earning him an Oscar nomination. He capitalized on this resurgence by starring in several successful films, such as "Face/Off," "The General's Daughter," "Get Shorty," "Phenomenon," and "Michael."

However, in recent years, Travolta's career has once again declined, with a string of direct-to-video action films. Despite this, Travolta seems content with his career and legacy, without feeling the need to prove himself further.

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John Travolta's Career Nearly Destroyed by a 1985 Flop

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This content discusses the career trajectory of actor John Travolta, from his rise to fame in the 1980s to his comeback in the mid-1990s. It highlights his initial success in films like "Grease" and "Saturday Night Fever," followed by a slump in the 1980s due to a series of unsuccessful movies.

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Seno. D, Lukas. B (2007) 'The equity effect of product endorsement by celebrities: A conceptual framework from a co‐branding perspective': pp. 125-126.

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Seno. D, Lukas. B (2007) 'The equity effect of product endorsement by celebrities: A conceptual framework from a co‐branding perspective': pp. 125-126.

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This article outlines the effect of product endorsement in relation to different case studies i.e. John Travolta.

This article therefore suggests that Travolta's credibility as a celebrity has increased in value given he is the ambassador for Qantas Airlines. This therefore leads to Travolta's brand equity positively correlating with brand credibility as Qantas Airline is prestigious and in turn suggestive that Travolta embodies these same qualities.

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This reunion displays the three leading characters in Pulp Fiction committing homage to the film's famous dance between Uma and Travolta.

In turn enhancing Travolta's star image within his 'popular persona' as it would create a sense of nostalgia for the audience and remind them of Travolta's star performance.

Not only does this example position Travolta as nostalgic of his popular persona but creates a new 'goofy and carefree' image for the media as he is seen having fun with his co-stars.

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John Travolta e Uma Thurman con Samuel L. Jackson rinfrescano i fasti di pulp Fiction #Oscars

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John Travolta e Uma Thurman con Samuel L. Jackson rinfrescano i fasti di pulp Fiction #Oscars https://t.co/Mw1n0TYHYA

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John Travolta e Uma Thurman con Samuel L. Jackson rinfrescano i fasti di pulp Fiction #Oscars pic.twitter.com/Mw1n0TYHYA
— Nastri d'Argento (@nastridargento) March 28, 2022

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John Travolta e Uma Thurman con Samuel L. Jackson rinfrescano i fasti di pulp Fiction #Oscars https://t.co/Mw1n0TYHYA

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John Travolta e Uma Thurman con Samuel L. Jackson rinfrescano i fasti di pulp Fiction #Oscars https://t.co/Mw1n0TYHYA

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John Travolta e Uma Thurman con Samuel L. Jackson rinfrescano i fasti di pulp Fiction #Oscars

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The audience once again can see Travolta dancing and creating nostalgia for the popular 'Saturday Night Fever'. This being achieved by Travolta tapping into his 'carefree' and 'goofy' image that he can present himself in a silly way on camera.

However, as this is a staged advert, it could create question into the authenticity of this carefree persona by his fans/audience.

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Quicksilver “Holiday Night Fever” :60 | Capital One

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Travolta plays Edna Turnblad in the remake of 'Hairspray'.

To play a woman he shows to the media that he is confident enough within his sexuality and himself that he can play the role of the opposite sex with ease.

Not only does it show a confidence in Travolta but also that he wouldn't care how the media would perceive this role. This allows Travolta to showcase that this comedic role is perfect for him. Therefore, impressing his fan base as he proves to the audience the range in which he can perform.

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Travolta's transformation to Edna Turnblad:

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Critical Guardian Review of ‘Hairspray’:

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Critical Guardian Review of ‘Hairspray’:

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However, Bradshaw challenges the 'comedic image' that Travolta attempts to embody in this role as he states that Travolta is "far from a natural comedic."

Such negative reception of his image could enforce a lack of future comedic roles for the star to which is suggestive his acting abilities are not as impressive as one would assume.

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John Travolta, who may be wearing a fat suit but still moves like the star of "Saturday Night Fever."

Ebert suggests in his review that Travolta has upheld his talent and makes the film to what the original intended.

Yet another singing and dancing role for Travolta further emphasizes that he is still the same triple-threat in Hollywood as he was in the 70's.

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At school she links up with best friend Penny Pingleton ( Amanda Bynes), whose name is undoubtedly a tribute to Penny Singleton, who played Dagwood's Blondie. They live for the moment when the minute hand crawls with agonizing slowness to the end of the school day, and they can race home and dance along with "The Corny Collins Show," the local teenage TV danceathon. In those days, every local market had a show like that. Eventually Dick Clark plowed them under with "American Bandstand." I miss their freshness and naivete.

Corny ( James Marsden) is well named, as he presides over a posse of Popular Kids known as his Council. Tracy longs to be on the Council. The star of the show and head of the Council is Amber Von Tussle ( Brittany Snow), whose mother Wilma ( Michelle Pfeiffer) manages the station and enforces an all-white policy for the show, except for the monthly Negro Day organized by Maybelle ( Queen Latifah), owner of a record shop.

All of this is recycled from the original 1988 John Waters film, which made Ricki Lake a star, and from the Broadway musical made from the Waters movie, but it's still fresh the third time around. It's a little more innocent than Waters would have made it, but he does his part by turning up in a cameo role as a flasher (look quick and you see Ricki Lake, too, and Pia Zadora). The plot involves Tracy's instinctive decency as she campaigns to integrate the program, endangering her campaign to get on the Council.

Tradition requires Edna, Tracy's mother, to be played by a man in drag: Divine in the film, Harvey Fierstein in the musical, and this time, John Travolta, who may be wearing a fat suit but still moves like the star of " Saturday Night Fever." Wilbur, Edna's father, is played by Christopher Walken, who has a hairpiece surely borrowed from his store, which is named "Hardy Har Har," and sells jokes and novelties. Oh, how I miss the Whoopie Cushion.

The plot wheels right along while repairing one outpost of Baltimore racism, and what's remarkable is that some fairly serious issues get discussed in song and dance. Tracy is sent to detention one day and learns a whole new style of dancing from the black students there, and takes it to TV, reminding me of the days when TV preachers thought Elvis was the spawn of Satan. Now they look like him. Call in today for your "free" healing water.

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Hairspray movie review & film summary (2007) | Roger Ebert

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"Hairspray" is just plain fun. Or maybe not so plain. There's a lot of craft and slyness lurking beneath the circa-1960s goofiness. The movie seems guileless and rambunctious, but it looks just right (like a Pat Boone musical) and sounds just right (like a Golden Oldies disc) and feels just right (like the first time you sang "We Shall Overcome" and until then it hadn't occurred to you that we should).

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The importance of these award nominations and wins for Travolta means that the media are well aware of the impact of his comeback to Hollywood.

This places Travolta's image back on the pedestal it once was on in the 70's. Once again Travolta will be recognised by the media as a respectable actor.

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Rosewarne. L (2019) 'Sex and Sexuality in Modern Screen Remakes', pp.220. 

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Rosewarne. L (2019) 'Sex and Sexuality in Modern Screen Remakes', pp.220. 

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This extract presents the criticism against casting Travolta as Edna Turnblad as it brings a lack of inclusion for the LGBTQ+ community which the original musical adhered to.

Rosewarne suggests that due to Travolta outright stating that "there is nothing gay in the movie" and that he is not "playing a gay man", that this displays disparity against the LGBTQ+ community.

Such comments made by Travolta caused media uproar against his image as it displays that playing a "gay man" would be against what he stands for.

This further links to the controversy surrounding his faith; as it is heavily suspected that being gay is strictly forbidden in the Church of Scientology despite not being explicitly stated to the media.

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John Travolta Wins Best Actor Motion Picture Musical or Comedy - Golden Globes 1996

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John Travolta wins Best Actor Motion Picture Musical or Comedy - Golden Globes 1996: 

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John Travolta wins Best Actor Motion Picture Musical or Comedy - Golden Globes 1996: 

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Travolta is seen smartly presented as he accepts the award from co-star Jamie Lee Curtis at the Golden Globes.

His speech is sentimental to which he states "any great actor knows that you can only be as great as the actors that surround him." This quote reinforces for the audience of Travolta's gratitude and awareness of the greatness he is also surrounded by.

This situates Travolta's personality as grateful and thankful for all he has achieved, which reinforces a positive star image for the media and his fans.

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John Travolta Wins Best Actor Motion Picture Musical or Comedy - Golden Globes 1996

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John Travolta on receiving an Oscar® nomination

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Travolta’s Response of Oscar Nominations:

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Travolta’s Response of Oscar Nominations:

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A smiley Travolta recaps how it feels to be Oscar nominated.

He described the feeling as “surreal” presenting to the audience another ‘grateful’ account of being recognised as an actor.

This displays Travolta's star image as grateful once again for his recognition in Hollywood.

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John Travolta on receiving an Oscar® nomination

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John Travolta Does His Iconic Grease Dance with Jimmy to Celebrate the 40th Anniversary

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Dancing on Jimmy Fallon ‘The Tonight Show’:

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Dancing on Jimmy Fallon ‘The Tonight Show’:

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This interview shows the audience positively reacting to Travolta’s comedic, goofy persona as they are seen laughing / cheering along to the pair dancing.

Travolta blows kisses to the audience as a way to embrace them, showing further gratitude to their positive reception.

Jimmy and Travolta dancing along to the ‘Grease’ classic reinforces how his goofy persona makes Travolta seem relatable to the audience and fans.

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John Travolta Does His Iconic Grease Dance with Jimmy to Celebrate the 40th Anniversary

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Travolta introduced Idina Menzel incorrectly:

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Travolta incorrectly introduced Idina Menzel as Adele Dazeem at the Oscar Academy Awards in 2013, which creates tension against his loving star image.

It instead situates Travolta as somewhat disregarding of Idina's talent and success to not correctly pronounce her name in front of millions. This in turn caused uproar in the media, showcasing Travolta as selfish and incoherent.

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JOHN TRAVOLTA THE BIGGEST OSCAR FAIL EVER! Idina Menzel BUTCHERED

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Jeffrey Augustine Claims ‘Dark Side’ of Travolta: 

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Jeffrey Augustine Claims ‘Dark Side’ of Travolta: 

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Ex-Scientologist; Jeffrey Augustine challenges Travolta's family man / charitable persona in an interview whereby he states the 'dark side' of Travolta due to his involvement in the church.

The power he holds in the church is described by Augustine as Travolta being able to be "blissfully unaware of the numerous cases of abuse that have reportedly occurred."

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Travolta had previously refused to discuss Jett's condition and his diagnosis of autism, although he eventually did admit this case.

Travolta 's reasoning of withholding this information from the media was not in relation to protecting Jett but instead due to how the Church of Scientology view different illnesses.

Thus suggesting that such a revelation would anger the church and repositions Travolta as a member; causing speculation that a soon exit from the church was brewing.

In regards to his star image, it is obvious that this kind of controversy of Travolta and his wife denying his son appropriate treatment would decrease the stars credibility as a ‘good father’ / ‘family man’ persona.

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Idina Menzel gets revenge on John Travolta at Oscars

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The following year at the Oscars, Travolta was awarded a second chance with Idina Menzel to recover from his epic failure.

Comedic jabs were taken at the expense of Travolta's mishap in other celebrities' speeches, which could be argued by the media letting Travolta off the hook for his embarrassing mistake.

However, reporter Antonia Georgiou calls Travolta out as Hollywood's creepy uncle from the way in which he holds Idina's face, slowly caressing and holding her.

Whereby, this situates Travolta as yet another white, rich, man who exerts power over those who he would believe to put up with such behavior.

Antonia Georgiou (2022) - NickySwift.com

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Idina Menzel gets revenge on John Travolta at Oscars

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However, Travolta's avid involvement in charity is contrasting to what his faith of Scientology follows.

As they believe one is only unwell when surrounded by a negative energy who doesn't agree with Scientology. Therefore working with so many charities could enforce a contrast of opinion and in turn confusing for Travolta's fanbase because his authenticity is conflicted.

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The masseur filed a $2 million lawsuit against Travolta for allegedly sexually assaulting him in the year 2000.

However, Travolta to date (2023) has now had 4 separate assault cases lined up against him, which have been circulating the media for the last two decades.

This inevitably has been increasingly damaging to Travolta's star image as large media outlets such as 'Vanity Fair', 'BBC', 'The Guardian' etc.. have all reported on the accusations.

Whereby, all of which outline the seriousness of Travolta's trials and accusations, potentially aiding the 'guilty' viewpoint.

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Celebrity and New Media: Gatekeeping Success (Stephanie Patrick) p.1-135 (2022)

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Celebrity and New Media: Gatekeeping Success (Stephanie Patrick) p.1-135 (2022)

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"Male stars undermine their (women's) public legitimacy, thus setting up the ideal public woman as one who is unable to consent."

This quote reinforces what Travolta evidenced at the Oscars both years with Menzel; reducing her success to clear unimportance by completely mispronouncing her name. To then follow such a travesty by seducingly caressing her face and lips in front of millions, which a potential negative reaction from Menzel would situate her new image in the media as 'over the top and dramatic'.

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This book looks back to the early days of new and social media, to examine the potential threat that such technologies and platforms posed to the mainstream corporate media's gatekeeping, and its ability to exploit, humiliate, and even violate famous women.

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This extract from this article about Scientology suggests that celebrities who are part of the church aren't their authentic selves.

As Juliette Lewis calls out Tom Cruise and John Travolta for being too concerned with their "squeaky-clean" and "family man" image.

Not only does Lewis state her opinion about the stars but also offers an alternative viewpoint for Scientology as a whole which positions the faith in a positive light.

This could work in Travolta's favour because if Lewis is seen as presenting her authentic self in this article then the readers could be more inclined to believe her stance on what the church really is.

Overall, suggesting that Travolta isn't part of a dangerous faith and his star image taking less of a hit.

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Another disappointing controversy to come from Travolta as his "squeaky-clean" image is declining rapidly.

The #MeToo question was asked to Travolta at Cannes Film Festival surrounding the recent accusations against Harvey Weinstein (whom Travolta worked with on set of Pulp Fiction).

To which Travolta gave a 'roundabout' answer and followed by questioning the usefulness of protests generally.

This questions Travolta's involvement in feminism in particular as well as the advocation for abolishing sexual abuse. Whereby this would aid the media more leverage into believing the accusations made against Travolta as he seems opposed to standing with the #MeToo Movement.

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GQ Magazine; 'Style was the word for John Travolta in the 1970s':

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GQ Magazine; 'Style was the word for John Travolta in the 1970s':

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GQ covers the many styles of Travolta in the 70's, situating him as a 'style icon', who will inspire any reader.

"Throughout the 1970s, his style-savvy roles had a lot of say in his off-screen wardrobe, which comprised of cool leather boots, Western shirts and impeccable tailoring."

This article on Travolta provides solid credibility to his star image as GQ highlights the most influential celebrities and their style.

GQ continues to describe Travolta's style as "an influx of inspiration."

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Style was the word for John Travolta in the 1970s

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You can tell by the way he used his walk.

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GQ Magazine; 'The Most Stylish Men of the 1980's:

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GQ Magazine; 'The Most Stylish Men of the 1980's:

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Travolta's 'style icon' persona doesn't start and end in the 70's as he's voted the thirteenth (out of fourteen) most stylish men in the 80's.

GQ continues to boost Travolta's image in regards to keeping his style relevant throughout the years as GQ hold such a respectable position in what is fashionable or not in the media.

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The 1980s famously gets bit of a bad rep when it comes to clothing (and hair), but don't let that fool you into thinking this was some sort of decade that style forgot. While certain celebrities might have gone down the whole lame-and-spandex route, the most stylish men of the Eighties kept things far more tailored (albeit with a looser cut than perhaps we're used to today). Thanks to men like David Bowie, Bryan Ferry, Michael Jackson and Jean-Michel Basquiat, as well as films like Wall Street, dressing up in suits came back into style - and with this men like Giorgio Armani, Ralph Lauren and Gianni Versace became the most in-demand menswear designers of the decade. Tailoring was boxy and big-shouldered, often double-breasted and cut from dark coloured - generally pinstripe - fabric, worn with eye-catching ties and patterned shirts. As the decade found its stride, suits got brighter coloured and more causal - exemplified in American shows like Miami Vice and by British bands like Duran Duran (Exhibit A: the music video for "Rio").However, one of the biggest trends of the decade was the prep revival, seen on screen in films like The Breakfast Club and Ferris Bueller's Day Off - with seersucker, blazers and Varsity jackets once again becoming popular. On the flip side, the punk explosion meant leather jackets were more prolific than ever before - and while Sid Vicious might have pushed the more grungy side of this to its limit, actors like Rob Lowe and Johnny Depp threw leather jackets on to pitch themselves as Hollywood rebels.There was also a boom in denim, with jeans becoming not just a downtime essential, but also crossing over into a moresmart-casual context as Casual Friday became a worldwide workplace standard.Whether you're more likely to slip into double denim or a double-breasted suit, here - in no particular order - are GQ's best-dressed men of the Eighties...

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Whether you're into double denim or double-breasted jackets, get inspired by the best-dressed men of the decade, including Tom Cruise, Rob Lowe, Michael Jackson and more

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1/6 Style Examples:

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3/6 Style Examples:

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Travolta's involvement nearly four decades later with GQ suggests that his development as a style icon is evidently steady.

Although, the pictures of Travolta in this issue are all strictly professional as he is displayed in a suit and tie.

GQ is no longer playing along with the 70's 'heartthrob persona' and instead displaying Travolta professionally to ensure the media receive the "squeaky-clean" image he now solely displays.

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Jorge, M.S., PABLO LARRAIN’S TONY MANERO: FASHION AND ALIENATION, pp.2-11. 

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Jorge, M.S., PABLO LARRAIN’S TONY MANERO: FASHION AND ALIENATION, pp.2-11. 

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In this extract from Jorge's article, it emphasises Travolta's role as a fashion icon in 'Saturday Night Fever', whereby Jorge outlines Travolta's costumes as an "impeccable style" (p.2).

Not only does the article display Travolta as a style icon in the 70's but also brave to do so as his costumes in films as well as his own style choices in the 70's challenged what Stella Bruzzi would've defined as manly.

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John Travolta Scotts Super Bowl Commercial  2021 Super Bowl 

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The costume choice in the advert depicts Travolta's image has developed into a 'family man' as Travolta is shown modestly dressed while he's seen dancing with his daughter care freely.

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FUNNY John Travolta Scotts Super Bowl Commercial | 2021 Super Bowl LV NFL | Chiefs vs Bay Buccaneers