Grease [DVD] [1978]

Product Information

Thunder Roadsters (SD 5:22) – This segment takes the "Greased Lighting" sequence of the movie and turns it into a larger (and largely unrelated to the film) look at classic cars in general and the people who love them.

WOULFE, MOLLY (January 2, 2009). " 'Grease' has deep, dark Chicago roots". nwitimes.com . Retrieved October 20, 2021.In connection with the film's 40th anniversary, Paramount released Grease on 4K Ultra HD Blu-ray, Blu-ray and DVD on April 24, 2018. [63] Awards and nominations [ edit ] Award Grease (1978)". Rotten Tomatoes. Fandango Media. July 7, 1978. Archived from the original on October 10, 2014 . Retrieved September 1, 2021. The 51st Academy Awards (1979) Nominees and Winners". Academy of Motion Picture Arts and Sciences. Archived from the original on October 17, 2014 . Retrieved October 31, 2011. Grease movie review & film summary (1998)". RogerEbert.com. March 27, 1998. Archived from the original on December 2, 2019 . Retrieved January 31, 2020. Champlin, Charles (June 16, 1978). "'50s as Seen Through 'Grease'". Chicago Tribune. Part IV, p. 30.

John Travolta had previously worked with Stigwood on Saturday Night Fever, recorded the top-10 hit " Let Her In" in 1976, and had previously appeared as Doody in a touring production of the stage version of Grease. As part of a three-picture deal with Stigwood, Travolta was given the lead role after Henry Winkler turned down the role for fear of being typecast as a greaser, having been playing the similar bad-boy greaser Arthur Fonzarelli on Happy Days since 1974. [13] (Winkler would later regret the decision.) [13] [14] Director Randal Kleiser had never directed a theatrical feature before this but had directed Travolta in the 1976 telefilm The Boy in the Plastic Bubble; Kleiser and Travolta developed a close platonic bond over the course of production, helping Travolta maintain focus as he grieved the death of Diana Hyland (his girlfriend at the time and his on-screen mother in Bubble). [13] Before Newton-John was hired, Allan Carr was considering numerous names such as Carrie Fisher, [15] [16] Ann-Margret, Deborah Raffin, [17] Susan Dey and Marie Osmond for the lead role. Fisher, who had recently finished Star Wars, was ultimately rejected because neither Stigwood nor Carr knew if she could sing. [13] Osmond almost took the role before she realized the extent to which the character transformed into a rebel and turned it down [18] to star in Goin' Coconuts instead. Carr eventually chose Newton-John after a chance encounter at a soireé hosted by Helen Reddy. [19] Newton-John had done little acting before this film, with only two film credits (1965's Funny Things Happen Down Under and the little-seen 1970 film Toomorrow, which predated her singing breakthrough) to her name up to that time; she requested a screen test prior to accepting the role. [19] Newton-John agreed to a reduced asking price in exchange for star billing and the ability to rewrite the script, which included changing her character's origin to an Australian immigrant (to avoid having to emulate an American accent) and making her less passive. [19] In a case of life imitating art, Newton-John's own musical career would undergo a transformation similar to that of the Sandy Olsson character; her next album after Grease, the provocatively titled Totally Hot, featured a much more sexual and pop-oriented approach, with Newton-John appearing on the album cover in similar all-leather attire and teased hair. [20] Stupid Question". Archives.stupidquestion.net. October 26, 2000. Archived from the original on November 30, 2007 . Retrieved August 16, 2010. Andreeva, Nellie (April 10, 2020). " 'Grease: Rydell High': Annabel Oakes To Write & EP HBO Max Spinoff Series". Deadline Hollywood. Archived from the original on April 13, 2020 . Retrieved September 4, 2020.Grease was originally shot on 35 mm film using Panavision cameras with anamorphic lenses. Paramount’s new 40th Anniversary Edition Ultra HD release features a new 4K scan of the original negative, followed by an extensive digital clean-up and restoration process supervised by Kleiser himself. It’s also been given new color grades for both Dolby Vision and HDR10, and is presented here on UHD in the original 2.39:1 theatrical aspect ratio. The result is very good looking indeed, about as good as one could expect given the film’s age. The image is often optically soft, particularly around the edges of the frame, and a few scenes were shot with filters to give it additional romantic quality. But on the whole the transfer features lovely detail and nicely refined texturing, particularly in skin tones and facial details. There’s a steady wash of light-to-moderate film grain that looks organic and cinematic. Contrast is excellent, with dark shadows and bright highlights (seen in gleaming chrome, car headlights, and the like). But it’s the color that really shines here, with incredible accuracy and vibrance. The High Dynamic Range helps all of this to pop off the screen with an electric but still natural appearance that really enhances the the image.