‹ All movies
Grease poster

Grease

year 1978decade 70sdirector Randal Kleiser

110 minutes

Cast

Selected cast credits · Film reference

Jeff Conaway Kenickie
Barry Pearl Doody
Kelly Ward Putzie
Didi Conn Frenchy
Dinah Manoff Marty
Eve Arden Principal McGee
Frankie Avalon Teen angel
Edd Byrnes Vince Fontaine
Sid Caesar Coach Calhoun
Alice Ghostley Mrs. Murdock
Dody Goodman Blanche
Sha-Na-Na Johnny Casino & The Gamblers
Susan Buckner Patty Simcox
Lorenzo Lamas Tom Chisum
Fannie Flagg Nurse Wilkins
Dick Patterson Mr. Rudie
Eddie Deezen Eugene
Darrell Zwerling Mr. Lynch
Ellen Travolta Waitress
Annette Charles Cha Cha
Barbi Alison Dancer
Carol Culver Dancer
Cindy DeVore Dancer
Sandra Gray Dancer
Mimi Lieber Dancer
Judy Susman Dancer
Larry Dusich Dancer
Daniel Levans Dancer
Sean Moran Dancer
Greg Rosatti Dancer
Andy Roth Dancer
Andy Tennant Dancer

Grease | The Rewatchables

host Bill Simmonshost Juliet Litmanhost Amanda Dobbinsproducer Craig Horlbeck memorial Olivia Newton-John Memorial
Explore episodeClose episode

Most Rewatchable Scene

You’re the One That I Want finale

In the discussion (23)
Approx. transcript time · 00:09:01Read transcript
  • You’re the One That I Want is predicted as the scene winner for the song, dancing, chemistry, and Sandy’s leather-clad entrance.
  • The animated opening credits are nominated and praised, but their 1970s look and lack of connection to the film’s 1950s setting are questioned.
  • The animated opening is defended as a guide to the satire and a bridge from 1978 into 1958, despite having little in common with the rest of the film.
  • Summer Nights is nominated, with its back-and-forth structure and ending split screen praised.
  • Travolta combing his hair while the men shimmy on the bleachers is singled out as an iconic detail.
  • The number is praised for establishing the premise and the stars’ talent in about four minutes.
  • The choreography and camerawork are praised for keeping the performers visible and moving with them, unlike some later hurried numbers.
  • Look at Me, I’m Sandra Dee is nominated, with a wish for more of Sandy’s reaction when she discovers the teasing.
  • Greased Lightnin’ is nominated and Travolta’s performance praised, despite regret that Conaway lost the number.
  • Giving Travolta the number is defended because he needed an uptempo showcase beyond the shared Summer Nights and the Sandy ballad.
  • Both diner scenes are enjoyed, with a wish for more of them and for real diners like the Frosty Palace.
  • Danny’s attempts at basketball, wrestling, baseball, and track are enjoyed as comedy; the baseball looks comparatively convincing.
  • Rizzo’s missed-period revelation is nominated.
  • The rumor spreading through the drive-in until Kenickie hears is another nominated moment.
  • The Sandy performance is a favorite for one viewer but judged below the other numbers by another.
  • The song’s spoken interlude prompts a joking claim that Travolta invented rap.
  • The absurd car race is enjoyed, particularly its Los Angeles river setting.
  • You’re the One That I Want and the ending are selected as an unmissable final eleven minutes.
  • The bandstand sequence and hand jive are strongly defended after being omitted; one objection targets the lengthy lead-up rather than the hand jive itself.
  • Hound Dog, Tears on My Pillow, and Those Magic Changes help make the dance appealing, with a wish for Those Magic Changes to be more prominent.
  • You’re the One That I Want is accepted as the scene choice, with the bandstand sequence placed second.
  • Summer Nights is a separate firm choice, defended as better choreographed.
  • The finale’s familiar choreography and iconic appeal are defended, with the dance-off still a personal favorite.

What’s Aged the Best?

Sandy’s clothes; hair combing; Studio 54party; rival car; Patty Simcox; La Bamba; added solo; greaser look; touch-assist anecdote; dance contests; Malibu; Barney’s Beanery

In the discussion (16)
Approx. transcript time · 00:32:48Read transcript
  • The animated opening and its catchy theme are explicitly moved into aged-best discussion despite not matching the rest of the film.
  • Sandy’s modest yellow outfits are praised, including the sweater-over-shoulders look.
  • Travolta’s repeated hair-combing gestures are praised.
  • The premiere after-party at Studio 54 is nominated as an especially 1970s detail.
  • The rival’s car is admired, with the nickname Craterface recalled.
  • Patty Simcox is praised as a prototypical annoying high-school character.
  • The brief La Bamba use is enjoyed.
  • Hopelessly Devoted to You is praised for working despite reportedly being added after principal production to provide Newton-John a solo.
  • The kiddie pool at the end of the number is enjoyed.
  • Dipping the stationery into the kiddie pool is questioned.
  • Greased hair, leather jackets, white T-shirts, and jeans are admired as the era’s style.
  • Cars, drive-ins, and milkshakes are recalled as pleasures of that era; women adopting the biker jacket is discussed.
  • A Vanity Fair anecdote about Kleiser’s infected foot and Travolta performing an hour-long Scientology touch assist is enjoyed as revealing celebrity behavior; the recovery claim is reported rather than endorsed.
  • Dance competitions are praised as a durable movie pleasure, with Pulp Fiction, Bring It On, You Got Served, Step Up, and Step Up 2 as comparisons.
  • The recognizable Malibu beach rocks are praised as an enduring cinematic location.
  • Barney’s Beanery appearing in the animation is appreciated as a surviving Los Angeles landmark.

The Great Shot Gordo Award for Most Cinematic Shot

Sandy alone at the Los Angeles River

In the discussion (2)
Approx. transcript time · 00:52:40Read transcript
  • The Summer Nights split screen is the initial cinematic-shot choice.
  • Sandy sitting alone at the Los Angeles River receives agreement and replaces the initial choice.

The Butch’s Girlfriend Award for the Weakest Link in the Film

Actors too old for teenagers

In the discussion (3)
Approx. transcript time · 00:52:59Read transcript
  • The actors playing teenagers are judged visibly too old; children may miss the gap, while adult viewers may read it as self-aware comedy.
  • The stated ages are Channing 33, Tucci 31, Donnelly 30, Charles 29, Newton-John 28, Conaway 26, Conn 25, and Travolta 23.
  • Sonny is singled out as looking around forty, and Craterface as older still.

What’s Aged the Worst?

Newton-John’s film career; sequels; Rizzo; skirt-peeking; diversity; dated references; Carr’s later career; Jan’s characterization; car race

In the discussion (12)
Approx. transcript time · 00:54:47Read transcript
  • Newton-John’s limited film career is regretted, with speculation that a later romantic-comedy industry could have better used her.
  • Grease 2 is rejected despite its later defenders and its introduction of Pfeiffer.
  • A reportedly proposed 2002 Grease 3 with returning characters is described with relief that it did not happen.
  • Rizzo is criticized as cold, unkind, and insufficiently likable, while a defense values her queen-bee role and vulnerable solo and blames the followers more.
  • Looking under girls’ skirts is criticized as a dated gag.
  • The film’s lack of diversity is noted.
  • The Sandra Dee, Frankie Avalon, Sha Na Na, Bandstand, and Troy Donahue references are becoming obscure, although they remain part of the charm.
  • Carr’s later films and the notorious Oscars production are contrasted with the success of Grease.
  • Jan’s personality being reduced to eating a lot is criticized as shallow.
  • The slow-looking car race is criticized beside modern F1 and Fast & Furious images.
  • Danny driving up the riverbank is questioned because it should slow him down.
  • The sports scenes are also criticized as poorly staged.

The Stephen A. Smith Hottest Take Award

Rizzo is unpleasant; Sandy lacks substance; Sandy looked better before

In the discussion (4)
Approx. transcript time · 00:56:04Read transcript
  • The criticism of Rizzo as an unpleasant rather than galvanizing figure is explicitly identified as a hot take; her effective mean-girl performance and solo provide a counterargument.
  • Sandy is criticized as humorless, overly surprised, sensitive, prudish, and insufficiently characterized beyond being attractive; the ease of the track scene is a small defense.
  • A longer Sandy–Danny conversation is proposed to establish why they love each other, possibly replacing sports material or expanding the beach scene after moving the animation first.
  • Sandy is preferred before the makeover because the perm is disliked; the hair is also speculated to be a wig associated with Frenchy.

The Ruffalo / Hanna / Rubinek / Partridge Overacting Award

Frenchy; Vince Fontaine; comic T-Birds

In the discussion (4)
Approx. transcript time · 01:14:00Read transcript
  • Sid Caesar is acknowledged as divisive but personally enjoyed.
  • Didi Conn as Frenchy is the actual overacting selection.
  • Vince Fontaine is another choice for his exaggerated, lecherous behavior, though his handspring is admired.
  • The three comic T-Birds are another selection for excessive comic relief.

Apex Mountain

Travolta; Newton-John; Stigwood; movie dance contests; drive-in scenes; girls named Cha-Cha; Sandra Dee; John Marshall High School

In the discussion (14)
Approx. transcript time · 01:22:20Read transcript
  • Travolta receives an emphatic yes for his freedom to choose any next project, with Moment by Moment considered a disastrous use of that power.
  • Newton-John receives a yes; Physical is proposed as a more sustained moment but is said to depend on Grease.
  • Conaway’s contemporaneous Taxi role is discussed approvingly without a clear final Apex judgment.
  • Musicals and movie musicals are rejected, with Les Misérables, Phantom of the Opera, Hamilton, Singin’ in the Rain, The Sound of Music, and West Side Story used as alternatives or influences.
  • Happy Days is preferred for 1950s nostalgia.
  • Stigwood receives a yes for the consecutive films, soundtrack ownership, and integration of his artists.
  • Extreme makeovers are questioned through Tai in Clueless rather than settled affirmatively.
  • Movie dance contests receive a yes.
  • Springsteen’s song is preferred for Thunder Road.
  • Drive-in movie scenes receive an affirmative assessment.
  • Girls named Cha-Cha receive agreement.
  • Sandra Dee is offered and accepted as another Apex subject.
  • American Anthem is preferred for men’s gymnastics.
  • John Marshall High School receives the film as its preferred peak over DiCaprio’s attendance, with the hills behind the carnival scene admired.

What Piece of Memorabilia Would You Want From This Movie?

Travolta’s T-Birds jacket; varsity sweater

In the discussion (3)
Approx. transcript time · 01:41:49Read transcript
  • Travolta’s final varsity sweater is a memorabilia choice.
  • The screen-worn T-Birds jacket receives repeated memorabilia choices.
  • Frenchy’s wig is jokingly ranked last among memorabilia choices.

The Coach Finstock Award for Best Life Lesson

Bad-girl makeover; sexual tolerance; finish high school

In the discussion (3)
Approx. transcript time · 01:42:04Read transcript
  • The makeover is summarized as the troubling lesson that being a bad girl keeps a man happy.
  • Rizzo’s view that there are worse things than sleeping with a man is endorsed.
  • Returning to high school rather than pursuing beauty school is another stated lesson.