John Travolta

Danny Zuko
Olivia Newton-John Sandy Olsen
Stockard Channing Rizzo
Jeff Conaway Kenickie
Barry Pearl Doody
Michael Tucci Sonny
Kelly Ward Putzie
Didi Conn Frenchy
Jamie Donnelly Jan
Dinah Manoff Marty
Eve Arden Principal McGee
Frankie Avalon Teen Angel
Joan Blondell Vi
Edd Byrnes Vince Fontaine
Sid Caesar Coach Calhoun
Alice Ghostley Mrs. Murdock
Dody Goodman Blanche
Susan Buckner Patty Simcox
Lorenzo Lamas Tom Chisum

 

 

 

 

 

Directed by
Randal Kleiser
 

Produced by

Allan Carr

Robert Stigwood
Original music by
John Farrar
Barry Gibb
Michael Gibson
Bill Oakes
Louis St. Louis
Cinematography by
Bill Butler
Film Editing by
John F. Burnett
Production Design by
Philip M. Jeffries
Costume Design by
Albert Wolsky

 

 

 

 

Love is a Many
Splendored Thing

 

Ah! From Here to Eternity? No. Grease. Even die-hard fans have a difficult time remembering this scene in the film although it is a very simple and clever beginning. The scene is slightly 'dangerous' because away from the high school environments, our two leads cannot pass for teens. (An issue throughout the film but particularly here.)
Sandy: Is this the end?
Danny: No, it's just the beginning.

 

 

 

 

Grease

 

Barry Gibb (The Bee Gees) penned this energetic number directly for the film and it is performed by Franki Valli, giving it the 50's sound that seems to be missing. The opening credits are an animated introduction of most things Rydell.

 

 

 

 

Rydell High
Alma Mater

 

The song has been reduced to a small snippet of set dressing, played while the school office staff prepare for the day.

 

 

 

 

Summer
Nights

 

A study was shown that 96.3% of Americans between the ages of 14 and 35 have lip-synched to this song. Okay, I made that up, but, I would not be surprised to find it to be true. (I admit I've done it. Pretty well, if I do say so myself. All right, you were pretty good too.) Anyway, watching it with commentary in mind, I found the number still enticing. Maybe Olivia Newton John is a little bland, but not bland enough to thwart many school boy fantasies. And one great note... As the song starts winding down, Director Kleiser  does a high close-up camera of Danny and Sandy creating excellent separation from the boys and girls 'down below' (or should I say 'Down Under,')

 

 Summer Nights

 

 

 

Look at me,
I'm Sandra Dee

 

This comedic number is kept small. Rizzo gets her torch song later, so this is just for fun. A lot of fun.
Marty: Twinkies and Wine. That's real class, Jan.
Jan: It says right here... It's a Dessert Wine.

 Look at Me, I'm Sandra Dee

 

 

 

Hopelessly
Devoted to You

 

This song, written for the film, is simplistic and oh, so effective. Sandy is outside in the yard singing of Danny. Of all her singing in the film, this song is the one that benefits most by Olivia Newton-John's vocal stylings. I'm sure the simple message was heard (and imitated) by girls all across the world...

 Hopelessly Devoted to You

 

 

Greased
Lightening

 

...While the guys were singing this... Hey, you can dance and still be cool! And it is cool. Danny and Kenickie, with undeniable charm, tear this song up in a stellar performance of 'cool.' Heck, they can even swear in rhyme! The choreography ranks right up there with "Shall we dance" from the 'King and I' for most recognizable.

Greased Lightening

 

Go Greased Lightenin'

Beauty School
Dropout

 

Frankie Avalon graces the screen with the funny, fantastical number. Surrounded by a bevy of curler clad angels (including Rizzo and Marty), he croons to her and convinces her to return to High School. Like, Look at Me I'm Sandra Dee, the number is deliciously short. But, this one culminates with Sonny, Doody and Putzie flying overhead as angels.


 Beauty School Dropout

 

 

 

Rock n Roll
is here to stay

 

Sha Na Na are the band for the big televised dance off at the gym. This is the first number and it features a brief glimpse of the energetic dancing to come.

 

 

 

Those Magic
Changes

 

Well, on stage this was Doody's character piece, but on celluloid, its just song number two of the hop.

 

 

 

Tears on
my Pillow

 

Song # 3 of the pre-dance-off. Features 'the stroll.'

 

 

 

Hound Dog

 

The Dance Off is on! Some High Energy Dancing.

 

 

 

Born to
Hand Jive

 

A Great Dance piece. The fun they had making the film is very infectious here. Even, Olivia, admittedly not a dancer sells this well but, it is Travolta who takes over Enjoy.

 

 

 

Blue Moon

 

The Champions share their spotlight dance... with 3 blue 'moons.'

 

 

 

Sandy

 

Written for the film, (replacing a similar, but flavorless song) "Sandy"  is similar in flavor to "Hopelessly Devoted to You" but is decidedly male. Travolta has won the audience over along time ago so this is a nice character piece. The camerawork, like during most of the songs, is very basic and in some cases static. I wonder if the film where done today, would the camerawork be more ambitious. With that said, the movie screen silhouette is very great.

 

There are worse
things I could do

 

Rizzo redefines herself here and opens the door up for a much deserved retribution. Channing, although obviously the wrong age and lacking a strong singing voice, does justice to the piece.

 There are Worse Things I could Do

 

 

Look at Me,
I'm Sandra Dee
(reprise)

 

This  reprise is oversung (Other than the Opening credits, the only song in the film that is not 'performed.') The sentiment is very sweet and Sandy is so darn sweet and innocent that it would be difficult not to feel for her.

 

 

 

You're the
one that
I want


Other than having an indiscernable title, the song is very well staged with Travolta having a ball and Newton-John sewn into tight black pants. The 'funhouse' background is a very creative element that provides many different solutions. The 'Shake Shack' is a picture not easily forgotten.

You're the One that I Want



 

We Go
Together

 
This big number ends the high energy film, an overall impressive venture..

We Go Together

 

 

grease_1.jpg (19266 bytes)

 

 

 

 

 

Usually, when a musical or play makes its way to the screen it sacrifices a lot of its 'theatrical creativity.' Grease is certainly no exception to that, but it is one of the few that benefits from the transfer. On stage, the piece is more of an ensemble piece, all of the TBirds have a song of some sort and solo onstage time. Whereas the film obviously follows the Danny & Sandy story with the Rizzo & Kenickie story as a subplot. Additionally, the songs written directly for the film (Hopelessly Devoted to You, Sandy, You're the One That I Want) are a better sell then their predecessors. Other changes are evident, like making Sandy Australian to compensate for the casting of Olivia.

One strange thing of notice... In a couple of the diner scenes, a poster behind Sandy and the jock(Lorenzo Lamas) is blurred out. I believe it is (was) a Coca Cola poster. Why was it so poorly blurred out? Product placement legal issues? Was the poster from later in the decade? Was it distracting? hmmm.

 

 


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