|Director: Randal Kleiser |
|Screenplay: Bronte Woodard and Allan Carr (adapted by Carr from the musical by Jim Jacobs and Warren Casey)|
|Stars: John Travolta (Danny), Olivia Newton-John (Sandy), Stockard Channing (Rizzo), Jeff Conaway (Kenickie), Didi Conn (Frenchy), Eve Arden (Principal McGee) |
|MPAA Rating: PG|
|Year of Release: 1978|
One of my fondest memories of watching a movie in a theater was Grease—albeit not during its initial theatrical run, as I was only four years old in 1978. Instead, I had the chance ot see it on the big screen as a young adult in 1998, when it was re-released for its 20th anniversary. Not many movies get theatrical re-releases in the era of home video, but after the phenomenal success of the re-release of Star Wars in 1997, Grease was a logical flick to bring back to theaters. Not only was it an unexpectedly enormous hit back in 1978, but, like Star Wars, an entire generation (myself included) had grown up with Grease on video. And, of course, John Travolta was even hotter in post-Pulp Fiction 1998 than he was in 1978 (well, I guess that’s debatable), the public was hungry for ’70s memorabilia, and the music was still an ageless trip. Decades later, the soundtrack continues to sell well, and in 1997 the “Grease Megamix” (a souped-up re-mix of bits and pieces of all the hit songs) was one of the most requested tunes on pop stations around the country.
Every time I watch Grease it feels like going to a class reunion. Seeing Travolta back in his early 20s, with a lean body and greasy black ducktail, makes it all the more amusing to remember that he was playing a gray, overweight Bill Clinton clone in Primary Colors (1998), which was screening theatrically at the same time as the Grease re-release. In both movies, Travolta radiates off the screen like a true movie star, but in Grease it’s a more primal, teen-angst kind of stardom, something along the lines of Leonardo DiCaprio in his adolescent prime. And, like DiCaprio, Travolta was not only desired for his physical attributes, but also for his talent—he rode into Grease on the critical and commercial success of Saturday Night Fever (1977), for which he was nominated for a Best Actor Oscar.
When Grease was made in the late 1970s, there was a growing nostalgia for the perceived innocence and joviality of the late ’50s. As the turbulent ’70s were coming to a close, with military failure in Vietnam, the embarrassment of Watergate, racial tensions, soaring inflation, and general unpleasantness, it was nice returning to a time when black leather, fast cars, and necking in back seats were harmless means of being bad. Movies at the time were gritty, urban tales of corruption and moral ambiguity, and Grease made itself out to be the antithesis.
Of course, the Eisenhower era portrayed in Grease is a time period that never really existed. It is more of a whimsical version of how we think it was—filled with shiny hot rods, black leather jackets, hip diners, clueless principals, and gangs with names like the T-Birds and the Pink Ladies. Everything is simplified down to its barest essentials, and that is what is so enjoyable about the movie. It doesn’t demand much of anything from the audience, other than they check their problems at the door and have a good time. The story about the bad greaser Danny (Travolta) and his love for the squeaky-clean new girl in town, Sandy (Olivia Newton-John), is a kind of ageless adolescent myth to which virtually anyone can relate.
Based on the hit Broadway show by Jim Jacobs and Warren Case, Grease is imaginatively campy, kind of goofy, but always energetic and fun. The music, ranging from the disco-inspired title track by Frankie Valli, to the infamous “Greased Lightning” with all its automobile-inspired sexual innuendo, was hot stuff then and still is now. The songs, brought to life with lively performances choreographed by Patricia Birch (who went on to direct the ill-fated sequel, 1982’s Grease 2), have an infectious quality that always makes you want to sing along with them, no matter how cheesy (how can you not at least tap your feet to “Summer Nights” or “You’re the One That I Want”?).
Probably the only let-down of Grease is how little it did for its performers. It is easy to assume that a hit like this would have been a launching pad for its twentysomething actors and actresses, but in fact almost none of them went on to meaningful film careers. Jeff Conaway, who was so good in the role of Danny’s best friend Kenickie, went nowhere. Didi Conn, who played the unforgettably giddy high-school drop-out Frenchy, didn’t even get that far (she was desperate enough to show up in Grease 2). Even Stockard Channing—whose performance as Rizzo, the tough leader of the Pink Ladies, gives Grease the closest thing it has to real drama—had a mostly uneventful screen career until she resurfaced in the early ’90s with her Oscar-nominated role in Six Degrees of Separation (1993).
And what of the leads? How did Olivia Newton-John’s career take off? Does Xanadu (1980) ring a bell? And even Travolta, whose career seemed infallible at the time, made one great film (Brian De Palma’s 1981 conspiracy thriller Blow Out), one okay film (1980’s Urban Cowboy) and two really bad films (1982’s Two of a Kind, which reunited him with Olivia Newton-John, thus doubling down on their sinking careers, and 1983’s Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive) before sinking into a 15-year rut from which he finally escaped with his Oscar-nominated turn in Quentin Tarantino’s generation-defining Pulp Fiction.
Nevertheless, Grease was a huge success for its time because it bucked the trends and gave moviegoers something they hadn’t seen in a long time. Upbeat, funny, occasionally witty, and always enjoyable, Grease is no great piece of art, but with its complete lack of pretension, it is about as fun a movie experience as you can get.
|Grease 40th Anniversary Edition 4K Ultra HD + Blu-ray|
|Audio||English Dolby TrueHD 5.1 surroundFrench Dolby Digital 5.1 surroundGerman Dolby Digital 5.1 surroundItalian Dolby Digital 5.1 surroundJapanese Dolby Digital 2.0 surroundBrazilian Portuguese Dolby Digital 5.1 surroundCastilian Spanish Dolby Digital 5.1 surroundLatin American Spanish Dolby Digital 1.0 monauralEnglish Audio Description|
|Subtitles||English, English SDH, Cantonese, Mandarin Simplified, Mandarin Traditional, Danish, Dutch, Finnish, French, German, Greek, Hungarian, Italian, Japanese, Korean, Norwegian, Brazilian Portuguese, European Portuguese, Castilian Spanish, Latin American Spanish, Swedish, Thai, Turkish |
|Supplements||Audio commentary by director Randal Kleiser and choreographer Patricia BirchVideo introduction by Randal KleiserRydell Sing-Along“The Time, The Place, The Motion: Remembering Grease” featuretteGrease: A Chicago StoryAlternate Animated Main TitlesAlternate endingDeleted/extended/alternate scenes with introduction by Randal Kleiser“Grease Reunion 2002 – DVD Launch Party” featurette“Grease Memories from John & Olivia” featurette“The Moves Behind the Music” featurette“Thunder Roadsters” featuretteJohn Travolta and Allan Carr “Grease Day” interviewOlivia Newton-John and Robert Stigwood “Grease Day” interviewPhoto galleriesTheatrical trailer|
|Distributor||Paramount Home Entertainment|
|Release Date||April 24, 2018|
|Paramount’s 4K UHD presentation of Grease is duly impressive, representing a noticeable improvement in clarity and visual quality over the 1080p Blu-ray, which itself was a substantial step up from the original, largely unrestored DVD. According to the Paramount press release, they worked directly with director Randal Kleiser in restoring the film by scanning the original 35mm negative and committing to “extensive clean up and color correction using previously unavailable digital restoration tools such as high dynamic range technology.” The results are, as previously noted, remarkable, giving the image a newfound sense of depth and detail that previous releases lacked. Color vibrancy feels stronger, without any of the fading from previous transfers. It also appears that the color correction involved some boosting of the primary tones, giving the overall palette a brighter sheen. Digital tools have clearly been used to remove signs of age and wear, as the image is virtually blemish-free even as it retains a nice grain presence. The lossless Dolby TrueHD 5.1 surround soundtrack has also been given a boost, as the audio was “enhanced from a six-track mix created for an original 70mm release, giving the music more clarity.” I didn’t notice a substantial difference from the previously available Blu-ray, but it is definitely enveloping and nicely balanced, especially in the musical sequences.|
The majority of the supplements previously appeared on the 2006 “Rockin’ Rydell” DVD edition, which includes a brief (and I mean brief, as in about 25-second) introduction by director Randal Kleiser; an enjoyable and information audio commentary by Kleiser and choreographer Patricia Birch; the Rydell Sing-Along mode, which allows you to watch film’s 11 songs karaoke-style; “The Time, the Place, the Motion: Remembering Grease,” a 23-minute retrospective featurette; an extensive selection of deleted, extended, and alternate scenes with an introduction by Kleiser; and a bunch of additional featurettes that includes interviews with John Travolta, Olivia Newton-John, Allan Carr, and Robert Stigwood. There isn’t a bunch of new stuff, but what is included is definitely worth your time. The best of the bunch is “Grease: A Chicago Story,” a fascinating 24-minute featurette that pays long overdue attention to the original, groundbreaking Kingston Mines community theatre production in Chicago and how it evolved into a Broadway musical. It features interviews with original co-creator Jim Jacobs, who discusses how he came to write the musical with the late Warren Casey and at one point takes us to different locations around Chicago that inspired locations in the show, and original cast members Steve Munro, Bruce Hickey, and Marilu Henner. Out of the archives we get an alternate version of the animated opening titles, which looks exactly the same but is scored to a completely different do-wop style song written by Bradford Craig that was dug out of the Paramount vault as a rough demo and cleaned up. We also get a slightly different ending that Randall Kleiser had always wanted to use. It exists only as a 35mm black-and-white workprint, which has been colorized for inclusion here.
Copyright © 2018 James Kendrick
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