GREASE. It doesn’t sound as good after all these years

This is not the greatest musical in history. It might not even be in the top ten, but “Grease” consistently appears on lists of the most popular representatives of the genre. It’s not surprising – Randal Kleiser’s film is a classic high school romance with a whole array of colorful, though somewhat caricatured, characters and a decent collection of memorable hits. But does “Grease” retain its freshness after all these years since its premiere?

Well – to avoid keeping you in suspense – it doesn’t. Despite the fact that Kleiser’s first theatrical film became an instant hit in 1978 and the highest-grossing musical since “The Sound of Music”, today “Grease” feels a bit archaic and campy. And even if that was the director’s intention – to pay homage to the B-class teen musicals of the 1950s – one still wishes that the 1971 stage adaptation retained a bit more freshness and offered something for new generations of moviegoers. Apart from the excellent performances of the main couple and the incredible dance sequence at the school dance, there are few elements in Kleiser’s film that can still be considered strong points that resonate with the audience.

As befits a classic musical, “Grease” tells a love story, which is established literally in the first scene of the film. Teenage Australian Sandy Olsson (Olivia Newton-John) and her American peer Danny Zuko (John Travolta) say a tender goodbye on a California beach – it’s the summer of 1958, and with the end of vacation, Sandy prepares to return to her home thousands of miles away. The two are clearly in love, but they seem powerless against the forces of fate. However, shortly afterward, it turns out that in the upcoming school year, they both end up attending Rydell High School, where they are about to begin their senior year. Sandy is quickly disappointed by her beloved, as the gentle and romantic Danny, in the company of his slick, hedonistic friends (called “greasers,” from which the musical gets its name), behaves dismissively toward her.

And that’s essentially all you need to understand about the plot of “Grease” – as you might guess, Danny will struggle with himself, trying to balance his respect among his friends and his desire to be happy with Sandy. Sandy – though initially much more innocent than her classmates – will skillfully guide her beloved into wanting to change and return to the romantic persona of their summer. However, Kleiser doesn’t limit the story to this plot alone – in the background, there are social issues like teenage pregnancy and young people’s inability to make decisions about their future, with one of the main subplots being a television recording planned at Rydell High. During one of the best scenes in the film, the youth dive into a true dance frenzy – this sequence, appearing about two-thirds of the way through the film, is masterfully executed and makes “Grease” worth watching for this moment alone.

Although musicals are a genre deeply rooted in exaggeration and kitsch, the over-the-top and/or awkward acting in “Grease” stands out in a particularly jarring way. While the two lead performances are likable and enjoyable to watch despite some flaws, the supporting cast is a mix of excessive bravado and lack of talent. Stockard Channing, as the confident and rebellious Rizzo, leads the way, but nearly all of the secondary characters come across as bizarre. Perhaps this was intentional – maybe the director deliberately chose this style of working with actors to clearly draw on his inspirations from the 1950s teen musicals. But it’s worth considering the viewers who aren’t familiar with this convention – and they may find themselves watching “Grease” with a grimace of irritation.

At the time of its release, Randal Kleiser’s musical was a great example of genre entertainment and a skillful transfer of the Broadway material to the screen. Today, in an era of meta-musicals like “La La Land”, “Grease” seems to be an option only for those who seek a few fun songs in productions of this genre, and Kleiser’s film has plenty of those, with “You’re the One that I Want” and “Summer Nights” leading the way. But the question remains: is that really all we should expect from a cult musical?