Staying Alive (1983)

Director:

Sylvester Stallone

Writers:

Nik Cohn (characters)
Sylvester Stallone (written by) ...
(more)

Release Date:

15 July 1983 (USA)

Genre:

Drama | Music

Tagline:

Tony Manero knows the old days are over - But nobody's gonna tell him he can't feel that good again.

Plot:

It's five years later and Tony Manero's Saturday Night Fever is still burning. Now he's strutting toward his biggest challenger yet - making it as a dancer on the Broadway stage.

Plot Keywords:

Dancer | Sequel | Writer Director | Title Based On Song | Spandex

Awards:

Nominated for Golden Globe. Another 5 nominations

Cast

John Travolta	...	Tony Manero
Cynthia Rhodes	...	Jackie
Finola Hughes	...	Laura
Steve Inwood	...	Jesse
Julie Bovasso	...	Mrs. Manero
Charles Ward	...	Butler
Steve Bickford	...	Sound Technician
Patrick Brady	...	Derelict
Norma Donaldson	...	Fatima
Jesse Doran	...	Mark
Joyce Hyser	...	Linda
Deborah Jenssen	...	Margaret
Robert Martini	...	Fred
Sarah M. Miles	...	Joy (as Sarah Miles)
Tony Munafo	...	Doorman
Susan Olar	...	Model
Cindy Perlman	...	Cathy
Ross St. Phillip	...	Sound Man
Kurtwood Smith	...	Choreographer
Frank Stallone	...	Carl
Nell Alano	...	Dancer
Randy Allaire	...	Dancer
Audrey K. Baranishyn	...	Dancer
Paula Beyers	...	Dancer
Melita Brock-Warner	...	Dancer
Karen Bryson	...	Dancer
Bill Burns	...	Dancer
Gary Chapman	...	Dancer
David Chavez	...	Dancer
Dennis Daniels	...	Dancer
Trac DiPonzio	...	Dancer
LaLanya Fair	...	Dancer
Forrest Gardner	...	Dancer
Rhonda Hairston	...	Dancer
Nanci L. Hammond	...	Dancer
Michael Higgins	...	Dancer
Michelle Johnston	...	Dancer
Janet Jones	...	Dancer
Rochelle G. Jones	...	Dancer
Erica Jordan	...	Dancer
James Ko	...	Dancer
Reggie Leon	...	Dancer
Ben Lokey	...	Dancer
Lee Anne Loomis	...	Dancer
Daniel Lorenzo	...	Dancer
Viktor Manoel	...	Dancer
Valerie-Jean Miller	...	Dancer
Anita Morales	...	Dancer
Frances Morgan	...	Dancer (as Frances Morgan-Chapman)
Kevin Morrow	...	Dancer (as Kevyn Morrow)
Reggie O'Gwin	...	Dancer
Polly O'Malley	...	Dancer
Francine O'Neill	...	Dancer
Smith Osbourne	...	Dancer
Helene Phillips	...	Dancer
Carolyn Poppert	...	Dancer
Mark Reina	...	Dancer
Michael Rooney	...	Dancer
Kathy Shippen	...	Dancer
Karin Smith	...	Dancer
Rick Sullivant	...	Dancer
Nanette Tarpey	...	Dancer (as Nannette Tarpey)
Jim Thompson	...	Dancer
Peter Tramm	...	Dancer
Marvin Tunney	...	Dancer
Kate Wright	...	Dancer (as Kathryn Wright)
Derryl Yeager	...	Dancer
rest of cast listed alphabetically:
Rona Edwards	...	Agent (uncredited)
Helen Kelly	...	Girl at the Theater (uncredited)
Sylvester Stallone	...	Man on Street (uncredited)

Directed by
Sylvester Stallone

Writing credits
Nik Cohn		(characters)
Sylvester Stallone		(written by) and
Norman Wexler		(written by)

Produced by
Linda Horner	....	associate producer
Bill Oakes	....	executive producer
Sylvester Stallone	....	producer
Robert Stigwood	....	producer

Cinematography by
Nick McLean

Film Editing by
Peter E. Berger
Mark Warner
Don Zimmerman

Casting by
Rhonda Young

Production Design by
Robert F. Boyle

Art Direction by
Norman Newberry

Set Decoration by
Arthur Jeph Parker		(as Arthur J. Parker)

Costume Design by
Tom Bronson
Bob Mackie

Makeup Department
Barbara Lorenz	....	hair styles supervisor
Brad Wilder	....	makeup supervisor
Bron Roylance	....	makeup artist (uncredited)

Production Management
James D. Brubaker	....	production supervisor
James D. Brubaker	....	unit production manager
Lee Haas	....	unit production manager: New York

Second Unit Director or Assistant Director
William S. Beasley	....	first assistant director (as William Beasley)
Duncan Henderson	....	second assistant director (as Duncan S. Henderson)
Jennifer Kingry	....	dga trainee
Sharon Mann	....	second assistant director (as Sharon S. Mann)
Steve Wertimer	....	second assistant director: New York
Thomas J. Wright	....	second unit director

Art Department
Gary Clark	....	lead paint foreman
Wilbur Finks	....	property person
Bill Iiams	....	construction foreman
Bill Iiams	....	general foreman
Roger Irvin	....	construction coordinator
Kent H. Johnson	....	property master
Gary F. Kieldrup	....	property person
Daniel Maltese	....	set designer
Bruce Wayne Mecchi	....	swing gang
Luis Mirassou	....	labor foreman
Louis F. Valentini	....	lead man
Thomas Wright	....	production illustrator

Sound Department
George Baetz	....	cable person
Virginia Cook-McGowan	....	sound editor (as Virginia A. Cook)
Don Coufal	....	boom operator
Walter A. Gest	....	sound re-recordist
David W. Gray	....	stereo sound consultant: Dolby
Robert Gutknecht	....	sound editor
Cecelia Hall	....	sound editor
Don Hall	....	supervising sound editor
Joseph A. Ippolito	....	sound editor
Robert J. Litt	....	sound re-recording mixer
Steve Maslow	....	sound re-recording mixer
Elliot Tyson	....	sound re-recording mixer
George Watters II	....	sound editor
Jeff Wexler	....	production sound mixer
Dan Woren	....	sound editor
Donald C. Rogers	....	technical director of sound (uncredited)

Special Effects by
Howard Jensen	....	supervisor special effects

Camera and Electrical Department
Mike Amorelli	....	second lighting technician
Tom Barone	....	best boy electric
Stephen Bickford	....	stage lighting and special lighting effects: Satan's Alle, Royale Theater sequences
Dick Colean	....	camera operator (as Richard Colean)
John J. Connor	....	camera operator
Armando Contreras	....	dolly grip
Eric Engler	....	assistant camera (as William Engler)
Ron Frantzvog	....	assistant camera
Michael Genne	....	assistant camera
Gary Holt	....	gaffer
Dan Lerner	....	panaglide operator
Louis Mahler	....	supervisor video engineer
Tom May	....	key grip
Brian L. McCarty	....	playback operator
Robbie Robinson	....	still photographer: portraits
Esiah Samarin	....	best boy grip
Steven H. Smith	....	assistant camera (as Steven Smith)
Stephen St. John	....	panaglide operator
John Tedesco	....	stage lighting and special lighting effects: Satan's Alle, Royale Theater sequences
Robert C. Thomas	....	camera operator
Donald E. Thorin Jr.	....	assistant camera
Steve Yaconelli	....	camera operator (as Stephen Yaconelli)

Casting Department
Donna Rosenstein	....	casting assistant

Costume and Wardrobe Department
James P. Cullen	....	costumer
Ron Heilman	....	costumer: men (as Ronald Heilman)
Aida Swinson	....	ladies' costumer

Editorial Department
John A. Amicarella	....	assistant film editor
John F. Burnett	....	additional film editor
John Haggar	....	assistant film editor
David Handman	....	assistant film editor
Christopher Holmes	....	additional film editor
Ron Lambert	....	color timer
Victoria Martin	....	assistant film editor
Mark Melnick	....	additional film editor
Patrick O'Sullivan	....	apprentice film editor
Eric Strand	....	apprentice film editor
Edward A. Warschilka	....	assistant film editor

Music Department
Kathy Fogarty	....	assistant music editor
Nancy Fogarty	....	music editor
Robin Garb	....	music coordinator
Jim Henrikson	....	supervising music editor
Johnny Mandel	....	composer: additional music
Johnny Mandel	....	score adaptation
Spencer Proffer	....	executive music producer
W.G. Snuffy Walden	....	musician: guitar

Transportation Department
Russell McEntyre	....	transportation coordinator

Other crew
Dale Benson	....	location manager
Al Cerullo	....	helicopter pilot
Dan Curry	....	title designer
Joan Edwards	....	assistant: John Travolta
Harold Fowler	....	first aid
Laura Gans	....	support personnel
Gerard Gerth	....	first aid
Barbara Harris	....	looping group
Robin Harwood	....	support personnel
Dan Isaacson	....	physical therapist
Carol Jadiker	....	assistant: Bill Oakes
Arthur 'Clondike' Jones	....	craft service
Gary Kalkin	....	unit publicist
Sharee Lane	....	dance consultant
James A. May	....	support personnel
JoAnn May-Pavey	....	assistant: James D. Brubaker
Susan Persily	....	assistant: Sylvester Stallone
Julie Pitkanen	....	script supervisor
Dennon Rawles	....	choreographer
Sayhber Rawles	....	choreographer
Hal Salwen	....	intern: AFI
Markus Schaub	....	support personnel
Gini Smythe	....	assistant: Robert Stigwood
Jette Sorensen	....	production auditor
Howard Velasco	....	security officer
Katharine Wilson	....	secretary to James D. Brubaker

Production Companies

• Paramount Pictures
• Cinema Group Ventures

Distributors

• Paramount Pictures (1983) (USA) (theatrical)
• United International Pictures (UIP) (1983) (Sweden) (theatrical)
• United International Pictures (UIP) (1983) (France) (theatrical)
• United International Pictures (UIP) (1983) (Finland) (theatrical)
• United International Pictures (UIP) (1983) (West Germany) (theatrical)
• United International Pictures (UIP) (1983) (Argentina) (theatrical)
• United International Pictures (UIP) (1983) (Netherlands) (theatrical)
• Argentina Video Home (1983) (Argentina) (VHS)
• National Broadcasting Company (NBC) (1987) (USA) (TV) (broadcast premiere)
• Paramount Home Video (1991) (USA) (VHS)
• Phillips (1992) (Germany) (video) (laserdisc)
• Paramount Home Entertainment (2002) (UK) (DVD)
• Paramount Home Video (2002) (USA) (DVD)
• Paramount Home Entertainment (2003) (Netherlands) (DVD)
• CIC Video (19??) (Germany) (VHS)
• CIC Video (19??) (Netherlands) (video) (laserdisc)
• Paramount Home Entertainment (19??) (Netherlands) (VHS)
• Paramount Home Video (19??) (USA) (video) (laserdisc)

Other Companies

• Cinema Catering  catering
• Dolby Laboratories  sound post-production
• Modern Film Effects  titles and opticals
• Rich Mar Casting  extras casting

Runtime:

93 min | Argentina:96 min

Country:

USA

Language:

English

Color:

Color (Metrocolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

70 mm 6-Track (70 mm prints) | Dolby (35 mm prints)

Certification:

Iceland:L | Spain:T | Brazil:Livre | Argentina:Atp | Australia:PG | Canada:14 (Nova Scotia) | Canada:G (Quebec) | Canada:PG (Manitoba/Ontario) | Finland:K-12 | France:U | Norway:11 | Peru:PT | Singapore:PG | Sweden:7 | UK:PG | USA:PG | West Germany:12

Filming Locations:

New York City, New York, USA

Company:

Paramount Pictures

Trivia:

Just like for the original, star John Travolta underwent extensive physical training for the role. The training was supervised by director Sylvester Stallone.

Goofs:

Crew or equipment visible: When Tony is pacing the lobby waiting for the phone call to tell him he got the job, his mark is visible. You can see the tape on the floor where he is supposed to stop and turn around. When they show him from a farther distance, the tape is gone.

Quotes:

Tony Manero: You know what I wanna do?
Jackie: What?
Tony Manero: Strut.

Movie Connections:

Referenced in "The Simpsons: I'm Goin' to Praiseland (#12.19)" (2001)

Soundtrack:

Life Goes On

Third-rate sequel

If Saturday Night was the fever, then Staying Alive is Sunday morning when the cold's broken and all you're left with are some sticky bedsheets.

Don't get me wrong, I do like Sylvester Stallone, but his finger has never been firmly on the button marked "quality control" and in directing this sequel he's produced one of his more notable failures. If Sly sees himself as God, then he moulds Travolta in his own image, a virtual look-alike with waxed chest, pumped-up physique and Rambo-style headband. This narcissistic study of excess seems determined to float around indulgent dance numbers and close-ups of John's crotch in too-tight tights.

The idea of updating the Tony Manero character for the aerobics generation isn't bad, but completely misguided here. The first Manero film was relatively gritty and harsh. Here the plot hinges entirely around the flaccid dance sequences, the character-based scenes serving only as filler between 80s pop. At one point Manero reveals that he has a "new mature outlook on life... I don't smoke, I don't drink, I don't curse." You know, all of the things that made him interesting in the first place?

The formerly hard-hearted Manero here meets his match with the dire Finola Hughes, playing an ice queen as shallow and insensitive as he is. Cue predictable role reversal theme as she dumps him after a one-night stand. I actually thought Hughes was sporting a fake English accent, but it turns out she really is a native – it's just that her acting is so chronic. She's one of the main reasons the film doesn't work, as her misguided performance never really gels.

A montage is used to illustrate the developing relationship between Travolta and Hughes, which highlights co-writer Stallone's lack of skill with dialogue sequences. Much of the movie relies on music to artificially create its mood, including such subtleties as Frank Stallone's "Moody Girl". All the new songs, including the material by the Bee Gees, are strictly elevator muzak offerings; a shortcoming further highlighted by the use of the original's "Staying Alive" as the end credits theme.

Real problem with the picture is that many of the scenes are short and sketchy, creating a disjointed feel that prevents the viewer from becoming fully immersed in the narrative. The anaemic plot and lack of onscreen chemistry lends the film no dramatic impetus, and it just slides aimlessly from scene to scene. Now living in Manhattan, as at the end of the previous movie, Manero has no great motivation for bettering his life the same way he did in the first. There's no Bronx or oppression to escape, nowhere to run to. Manero's dream in this one is merely to star in a Broadway production of "Satan's Alley". Satan's Back Passage would be more appropriate. If this is Staying Alive then it's on a respirator machine – somebody pull the plug.

Some of the lines aren't all that bad. After hearing second-best girlfriend Jackie (Cynthia Rhodes) saying goodnight to a male friend, Manero bemoans "It was so sweet, it was like syrup... I had a cavity just listening to it." The majority though falls between functional and cod psychology. "If you had a brain in that thick skull of yours, you'd stop worrying about trying to change other people, and start worrying about changing yourself!" Manero is told at one stage. Ultimately, the film scuppered my childish habit of using title quotes, as there really was nothing worth repeating.

Sequels are usually by definition lacking. Audiences want to see more of the characters they loved in the first place, yet they can rarely advance in case they become unrecognisable. Very few follow-ups expand or add to their source material, and, while different, Staying Alive brings nothing new to the party. Not truly terrible, but very forgettable, and completely inessential. 4/10.