STAYING ALIVE (1983) - Andy's 4K UHD Review

[AndyDursin]

7/10 (*as a camp experience)



Dancing its way onto 4K UHD from Kino Lorber is STAYING ALIVE (96 mins., 1983, PG), the belated “Saturday Night Fever” follow-up which was, much like another Summer 1983 sequel — “Superman III” — heavily derided yet nevertheless one of the highest grossing films of the year at the box-office.

In fact, director Sylvester Stallone’s movie shares, if anything, more in common with another 1983 smash, “Flashdance,” than John Badham’s 1977 predecessor. They’re both incredibly silly, include several music video montages, and have about as much depth as your average Coors Light commercial.

Admittedly, “Staying Alive” is a far cry from the gritty streets of “Saturday Night Fever.” John Travolta is back as Tony Manero, once again trying to make it big as a Broadway dancer but having to do so by starting out at the bottom. The script — by original scribe Norman Wexler and Stallone — is an utter mismash of show biz cliches, from Tony’s faithful girlfriend (cute Cynthia Rhodes from “Runaway”) to the obnoxious, bitchy queen (Finola Hughes) who uses and abuses Tony prior to her big show opening. And speaking of that, the absurd and over-inflated musical finale, “Satan’s Alley,” is indeed an all-time camp classic, complete with original songs by the Bee Gees and Frank Stallone.

Fortunately, it all goes down nice ‘n easy as a guilty pleasure favorite — a movie that feels more like a standalone film than a sequel, placing its returning protagonist into a movie with a very different tone and cinematic approach. Most of the reason for that could be attributed to star Travolta’s reported rejection of previous “Fever” sequel scripts, the actor wanting to dial down the “grit” and play up the romantic/aspirational aspects of Tony’s journey.

For fans, Kino’s “Staying Alive” 4K restoration (1.85) looks fabulous with Dolby Vision HDR and fantastic colors that truly do provide this visually muscular production with appropriate “pop.” The 5.1 and 2.0 sound options are both fine, the movie offering loads of pop tunes with some late underscoring by Johnny Mandel. In addition to an interview with Hughes there’s a great David Del Valle/Ed King commentary that provides ample research and insight into Travolta’s reluctance to make the film and the sequel’s popularity with audiences, in spite of its widespread critical rejection. Numerous trailers include the memorable teaser which boasts a prominent use of Stallone directing Travolta behind the scenes.