Grease (1978) Review
7/10
Official trailer
Sandy and Danny have a summer. School starts, they discover they belong to different social systems, and the film spends ninety minutes resolving that by having one of them change completely.
The 7 is for a musical that works as a musical. The numbers are staged with real invention, the songs are constructed to be sung by people who can’t sing, and the film moves. Very little else made in 1978 has this much momentum.
The three points come off for what the story argues. This is a film in which a young woman solves her problem by becoming somebody else, and the film presents that as triumph in a closing number so catchy that most audiences never examine it.
I enjoy Grease more than I probably should. The numbers are a blast, Travolta is all swagger, and I’ll sing along to Summer Nights with no shame at all.
The ending is a misstep: it takes a sweet, decent girl and tells her the way to win is to stop being herself. That finale is where the three points go.
The Songs Were Built to Be Sung Badly
Most of the score comes from the 1971 Jim Jacobs and Warren Casey stage show, with a handful of additions written for the film, including the title song and the two biggest hits. What all of it shares is a structural quality worth studying. The melodies sit in a narrow range, the phrases are short, and the choruses are built on repetition and call and response. Anybody can produce a recognizable version of these songs in a car. That’s not an accident of a simple score. It’s what a pastiche of late fifties pop has to be, because that music was written for radio and for teenagers with no training. The film reproduces the commercial logic of the era it’s imitating.
The consequence is the film’s whole afterlife. A musical people can perform badly gets performed constantly, in schools, at weddings and in karaoke, and every one of those performances is an advertisement. Compare it to a score with real vocal demands. That stays in the theater.
Work designed for amateurs to reproduce spreads on a different curve from work designed to be admired. The barrier to participation is the variable, and lowering it converts an audience into a distribution network.
For writers the parallel is quotability and adaptability. A line short enough to repeat, a structure simple enough to imitate, a premise that can be described in a sentence at a party. None of that is dumbing down, it’s engineering for transmission. The tradeoff is real. Simple is easier to spread and easier to dismiss, and serious critics have dismissed this film for fifty years while it remained the highest grossing musical of its decade.
The Casting Nobody Should Have Approved
Olivia Newton-John was twenty-eight. John Travolta was twenty-three. Stockard Channing, playing a high school student, was thirty-three. The T-Birds visibly need to shave between takes.
It should be a problem and it’s not, for a reason. The film isn’t depicting adolescence, it’s depicting a memory of adolescence held by adults, and adult performers are the right instrument for that.
Channing benefits most. Rizzo is the best written character in the film, a young woman with a real fear and a reputation to manage, and Channing plays her with an adult’s understanding of what that costs. A seventeen-year-old actress couldn’t have done it.
There Are Worse Things I Could Do is the one number in the film with no joke in it. Rizzo is alone, believes she’s pregnant, and states her own position plainly to nobody. It sits at the exact center of the picture and it’s the only moment where the film treats a consequence as real. That song is my favorite moment in the film. Channing sings it like somebody who’s done pretending, and for the length of that number Grease turns into a better, sadder movie than the one around it.
Newton-John was reportedly concerned about her age and asked for a screen test before accepting. She was right to worry and wrong about the outcome. Her Sandy is a performance of a certain kind of decency, and it’s what makes the final transformation read as loss.
The Numbers Are Well Staged
Randal Kleiser directed, Patricia Birch choreographed from her own stage work, and the film’s set pieces are more inventive than its reputation suggests.
Greased Lightnin’ is staged as a fantasy that briefly replaces the garage with a showroom and then snaps back. Beauty School Dropout is an entire dream sequence built around Frankie Avalon descending a staircase as a guardian angel. That’s both a joke about the era’s teen idols and a real production number.
Summer Nights is the best directed sequence in the film because it’s doing narrative work. Two accounts of the same events, told to two audiences, with the truth sitting somewhere between them. It’s exposition, characterization and a hit single in four minutes.
It’s also the number I’d use to show anybody how a movie musical ought to work. Every line is a joke, a lie or a clue about who these kids are, and it never stops moving.
There’s also Hand Jive, staged as a competition with the camera moving through the gymnasium in long passes. The film understands that a musical number needs a spatial idea, and choreography alone isn’t one.
Kleiser was directing his first theatrical feature, having come out of television, and the inexperience shows in the dialogue scenes and never in the numbers. That distribution of competence tells you where the preparation went, and for a musical it’s the right place for it to have gone.
A set piece needs a job beyond spectacle. Summer Nights works because it’s delivering the backstory the plot requires while establishing that both leads lie to their friends about the same events.
The version to avoid is the number that stops the story to be enjoyed. Beauty School Dropout gets away with it because it’s a dream. That’s a license the film establishes and uses once.
Give each big moment a spatial concept. Where does the camera live, what does it move through, what does the room mean. Choreography without a spatial idea reads as people dancing in a space that could be any space.
The Ending Is the Argument, and It Is a Bad One
Sandy’s resolution is to appear in leather with a cigarette, having changed her clothes, her voice and her posture, and Danny’s is to briefly wear a letter sweater which he discards within a minute.
The asymmetry is total. She reconstructs herself and he adjusts an accessory. The film scores this as a happy ending with its biggest number and a car that flies into the sky. That’s a level of triumph that discourages anybody from asking what just happened.
Defenders argue that Sandy is claiming agency and choosing an identity instead of surrendering one. That reading is available and the film does nothing to support it. Nothing in the preceding ninety minutes suggests Sandy wanted this. She wanted Danny. I don’t think the film is malicious. I think it inherited the plot from a stage show that was partly satirizing the fifties and then filmed it sincerely, and a satire played straight becomes an endorsement. That’s a craft failure and not a moral one, and the result is the same either way.
Why It Never Went Away
Grease cost about six million dollars and has taken close to four hundred million across its releases. That made it the most successful musical film of its era by a wide margin.
The durability comes from the combination this film happens to have. Songs anybody can sing, a story simple enough to follow while distracted, a cast at the exact moment of maximum charisma, and a setting that was already nostalgic in 1978 and is therefore permanently out of time.
That last point counts for more than it looks. A film set in the present dates as the present moves. A film set in a stylized memory of twenty years earlier can’t date, because it was never claiming to be now.
It also arrived at the front end of the home video and soundtrack era. The album sold enormously, the film played on television constantly, and two generations encountered it before ever choosing to watch it.
None of that would have held it up without the cast. Travolta had Saturday Night Fever behind him and was briefly the biggest star in the world, and Newton-John was a chart act at her peak. The film caught both of them in the same year. That’s luck and not planning.
The sequel is the control experiment. Grease 2 has a comparable premise, a similar look and no songs anybody can name, and it disappeared. Whatever this film has, it’s located in the score and not in the formula.
Nostalgia is a preservative. Setting work in a remembered past instead of a current present removes the mechanism by which things become dated, because the audience is already reading it as a period artifact. Distribution channels shape which work survives, and they’re not merit-based. This film had a soundtrack album, a television afterlife and a school-production pipeline, and each brought it to people who would never have sought it out. The uncomfortable conclusion: transmissibility beats quality for longevity. The best musical of 1978 is arguable. The one everybody can sing isn’t.
Should you watch Grease?
Yes, and watch Rizzo. The film around her is a well-made, endlessly singable piece of nostalgia, and I have a great time with it right up until the finale throws a parade for Sandy giving herself away. That finale is the whole gap between this 7 and something higher. Stockard Channing is the one playing an actual person with an actual problem, and she’s why I’d happily sit through it again.
- Grease (1978), IMDb
