When the career of John Travolta is measured against other Hollywood superstars, there aren't many who became famous for starring in two of the best back-to-back culturally significant musical movies in Saturday Night Fever and Grease. He has shown resiliency over the years and amassed a dossier of iconic films featuring some of the most sophisticated characters to grace the big screen.
Recently, he crossed over to the small screen, portraying attorney Robert Shapiro in the FX miniseries American Crime Story: The People vs. O.J. Simpson, for which he received an Emmy. He is best known for his exploits on the big screen, often gravitating between heroic and villainous roles, in everything from genre-specific titles to blockbuster status.
Broken Arrow (1996)
In Broken Arrow, Travolta plays disturbed Air Force pilot, Vic Deakins. He believes a foolproof method of revenge against the government from which he feels alienated is to ransom a pair of nuclear warheads for a $250 million or he'll target two western U.S. cities. With little time to respond, his stealth bomber co-pilot, Riley Hale (Christian Slater), with the aid of a park ranger, track Deakins to contain the threat.
This was Face/Off. It featured hall-of-fame football player Howie Long as Travolta's partner in crime and continued a streak of hits with the Pulp Fiction star as the antagonist. His performance mimicked that of a man with nothing to lose, displaying little emotion while conveying underlying sinister subtext.
The Taking Of Pelham 123 (2009)
John Travolta, once again, delivers as a cold-hearted, calculating criminal who commandeers a New York City commuter train with the goal of obtaining a $10 million ransom under the threat of a one-hour deadline. The question he faces is can he trust MTA dispatcher Walter Garber (Denzel Washington) to deliver the money? He believes Garber has earned his corrupt reputation and is his ticket to freedom.
Jaws. A more recent edition in Travolta's roster of bad guys, his character here feels like the sum of all of his villainous roles to date. He wears shades underground, is always packing heavy heat, and displays unique facial hair.
Pulp Fiction (1994)
Travolta hit the 1990s running with his breakout turn as hitman Vincent Vega. As a foot soldier for the mob, who frequently has deep conversations with his partner, Jules (Samuel L. Jackson), Vincent becomes the catalyst for a string of random events that include a prized fighter betraying his boss and an accidental death requiring the services of an aggressive fixer (Harvey Keitel).
Travolta's presence in this Quentin Tarantino movie earned him a Best Actor academy award nomination revitalizing his career. It paved the way for his longest run of high-profile lead roles beginning with 1995's Get Shorty. He continued to cross genres for the next decade culminating in 2007's film adaptation of the Broadway musical Hairspray and lending his voice to Disney's Bolt.
Villainous - Swordfish (2001)
Charismatic operative Gabriel Shear (Travolta) knows from a high-ranking U.S. official that there are billions in cyberspace just waiting to be pilfered. To accomplish this objective, he enlists the help of parolee master hacker, Stanley Jobson (Hugh Jackman), whose goal is to gain custody of his estranged daughter. When Gabriel's quest goes sideways, he attempts to force the government's hand by taking hostages.
Beyond the cloak and dagger of cyber espionage and computer jargon lies a grounded yet expressive performance from its lead actor. Travolta has a predilection for playing characters that toe the line between good and evil, and a well-trained actor can sell the audience that he could be either. Shear is a patriot and believes his cause is righteous. His methods, however, are another matter.
Mad City (1997)
A disgraced security guard, Sam Bailey (Travolta), takes his grievances public when he takes hostages inside the same Natural History Museum where he had previously worked. While Bailey threatens the lives of innocent civilians, including children, an aggressive reporter (Dustin Hoffman) seeking to get a leg up on the competition begins covering the siege from the inside.
Travolta seems to be attracted to characters with a twist. This precursor to John-Q features a blue-collar worker snapping and taking actions, while impulsive, aren't pre-meditated. Travolta conveys this by making Baily appear simple-minded, unaware of the danger he represents to his captives. Ultimately, the film uses an "ends never justify the means" cliche to conclude Bailey's story.
Face / Off (1997)
FBI agent Sean Archer (Travolta) has been obsessed with international terrorist Castor Troy (Nicolas Cage) since he accidentally killed his son. He'll even go so far as to have Troy's face transplanted onto his own so he can infiltrate his terrorist network. With only 11 days to track down a ticking bomb somewhere in Los Angeles, Archer must thwart Troy, who now possesses not only his face but his authority.
Considering Travolta's resume, it's apparent he's comfortable switching from hero to villain, year after year. There is no better example than this action flick. In act one, he is a loving father, absent husband, and dedicated counterterror agent. However, in an instant, he becomes a maniacal sociopath, assuming the role of Troy while Cage does the same as Archer.
The General's Daughter (1999)
Army investigator Paul Brenner's loyalties are tested when he is assigned a high-profile murder case involving the daughter of a revered general (James Cromwell). While investigating with his ex, Sara Sunhill (Madeline Stowe), Brenner (Travolta) turns up evidence of a conspiracy involving the victim, the general, and the Army itself. Brenner wrestles with his oath as a soldier versus his duty to the truth as the cover-up that may have led to the murder begins to unravel.
Travolta wears a badge of honor with distinction in this mystery thriller which dives into the bureaucracy of life in the military and how it is skewed against women. He embodies the definition of conflict as he struggles to weigh the rules of military justice against the bigger picture: is one person responsible or the culture of the service?
Saturday Night Fever (1977)
From Monday to Friday, Tony Manero is a blue-collar worker in Brooklyn, New York, stuck at home with his traditional Italian American family. However, come Saturday night, he transforms into a disco magnate with his iconic white suit and matching pants. With newfound confidence, he attempts to capture the dancing championship of his local disco club and win the heart of his partner, Stephanie.
This was the first of two musical blockbusters that propelled Travolta to stardom. He immediately followed it up with Grease in 1978, showcasing his talents in every major industry discipline: dancing, singing, and acting. The film's iconic soundtrack is headlined by the Bee Gees and a direct sequel, Staying Alive, debuted in 1983.
Heroic - Domestic Disturbance (2001)
Frank Morrison (Travolta) is a loving father, however unhappy as a divorcee. When his son accuses his new stepfather, Rick Barnes (Vince Vaughn) of cold-blooded murder, nobody believes him except Frank. He then begins his own private investigation uncovering the deadly secrets of Barnes' past.
The plot of this Harold Becker film is one big cliche, but one that audiences can identify with. What would they do in Frank's situation? The viewer is aware from the start that Barnes is guilty and encouraged to root for Morrison. However, in of Travolta's track record of playing a hero or villain is answered clearly. Morrison is the archetypical father who will protect his loved ones at any cost or die trying.
Look Who's Talking (1989)
An unmarried ant with a toddler finds an unlikely father figure in James (Travolta), the cabby who rushed her to the hospital during labor. While Mollie (Kristie Alley) attempts to solicit parental assistance from the baby's biological father, James forms a bond with Mikey (voiced by Bruce Willis), present for many of his firsts in life while attempting to court his mother.
There's something to be said about an actor who can function effectively in every movie genre, especially if they're flipping between action and comedy, hero to villain. And with this film Travolta proves, once again, he is up to the task similar to Arnold Schwarzenegger in a movie like Kindergarten Cop. Two sequels followed this breakout hit in Look Who's Talking To (1990) and Look Who's Talking Now (1993).
