Staying Alive (1983 film)

Kersti Adams-Ray interviews John Travolta in Sweden about Staying Alive, September 1983

Saturday Night Fever producer and writer Robert Stigwood and Norman Wexler started planning a sequel soon after the original film came out in 1977, due to the film's success. They came up with the title Staying Alive, and Wexler wrote a script. Travolta was open to the idea of a sequel, but did not like the pessimism of the script, thinking that his character, Tony Manero, needed to see more success as a dancer.[6] Stigwood and executives from Paramount Pictures spent the next several years trying to convince Travolta to film the script as written, but with no success.[6] The project was considered abandoned, but then, in 1981, Stigwood met with Travolta to get Travolta's views on how a sequel should go. Travolta stated that he wanted Manero to attempt a dance career on Broadway and end up in a leading role due to his talent.[6] Wexler wrote another script based on Travolta's ideas, in which Manero becomes a Broadway dancer but remains in the chorus. Travolta agreed to participate in the film, though he preferred an ending more like the one he had envisioned: he agreed that Wexler's ending was a more realistic outcome, but felt that it would not be sufficiently exciting for audiences.[6]

It was then time to find a director for Staying Alive, and Travolta, who had just seen the film Rocky III (which Stallone wrote, directed and starred in), told his agent that he wanted a director who could bring the energy and pacing of that film to Staying Alive. To Travolta's surprise, Paramount, with the help of then-studio chief Michael Eisner, was able to bring in Stallone himself.[6] Travolta told Stallone about his idea for a happier ending, and Stallone rewrote the script to more closely match Travolta's vision. Stallone also made the Manero character more mature – given that the character was now six years older than in the original film – and made the film's language tamer than that of the first film, to ensure that it got a PG rating.[6]

Under Stallone's supervision, Travolta spent five months doing rigorous training to develop a dancer's physique for the film, losing 20 pounds in the process.[6]

Staying Alive: Original Motion Picture Soundtrack
Soundtrack album by Bee Gees and others
Released	June 1983 July 1983
Recorded	1977 ("Stayin' Alive"), 1983 in Middle Ear Studio (Miami Beach, Florida)
Label	RSO Records
Producer	Bee Gees, Albhy Galuten, Karl Richardson
Bee Gees chronology
Living Eyes (1981) Staying Alive: Original Motion Picture Soundtrack (00000029) E.S.P. (1987)
Singles from Staying Alive: Original Motion Picture Soundtrack
"The Woman in You" Released: May 1983 "Someone Belonging to Someone" Released: July 1983 "Far from Over" Released: July 1983 [7] "Look Out for Number One" Released: 1983 "I'm Never Gonna Give You Up" Released: December 1983 [8]

The soundtrack album was released in 1983 and is performed mainly by the Bee Gees. Five new Bee Gees songs (all of which have lead vocals by Barry Gibb) took up the first side, with side two featuring various artists performing songs mostly written by Frank Stallone, brother of the film's director Sylvester Stallone. The album reached number 14 in the United Kingdom, number 6 in the United States, number 1 in Switzerland, and number 2 in Italy and Japan. The LP was the final soundtrack, and the final songs, by the Bee Gees released under RSO.

All tracks on Side A are written and performed by the Bee Gees (Barry, Maurice, and Robin Gibb). "Stayin' Alive" was shortened for the album only; the full song is actually used in the film.

Out of the songs featured in Staying Alive (excluding instrumental Muzak tracks),[9] only "Waking Up" by Frank Stallone and Cynthia Rhodes, and "The Winning End" by Joe Esposito, do not also appear on the album; “Waking Up" would later be released as the B-side of the "Far from Over" single, except as a solo version with Rhodes' vocals removed. A brief excerpt of a third duet with Frank Stallone and Cynthia Rhodes titled "Hope We Never Change" is also featured in the film.

Staying Alive was a commercial success. The film opened with the biggest weekend for a musical film ever (at the time) with a gross of $12,146,143 from 1,660 screens.[16][17] Overall, the film grossed nearly $65 million domestically against its $22 million budget. Worldwide it grossed $127 million. Though the domestic box office intake was less than the $94.2 million[18] earned by Saturday Night Fever, the film nevertheless ranked in the top ten most financially successful films of 1983.

Staying Alive received universally negative reviews from film critics. On the review aggregator website Rotten Tomatoes, 0% of 26 critics' reviews are positive, with an average rating of 3.1/10. The website's consensus reads: "This sequel to Saturday Night Fever is shockingly embarrassing and unnecessary, trading the original's dramatic depth for a series of uninspired dance sequences."[19] Metacritic, which uses a weighted average, assigned the film a score of 23 out of 100, based on 7 critics, indicating "generally unfavorable" reviews.[20]

Roger Ebert of The Chicago Sun-Times, who had praised Saturday Night Fever, called the dance productions in Stayin' Alive "laughably gauche", especially the final number, which he mocked for including "fire, ice, smoke, flashing lights and laser beams". Ebert added that what the film most lacked was "the sense of reality in Saturday Night Fever... There's no old neighborhood, no vulgar showdowns with his family (he apologizes to his mother for his "attitude"!) and no Brooklyn eccentricity."[21] In 2006, Entertainment Weekly dubbed Staying Alive the "Worst Sequel Ever."[22] Many critics were unanimous in agreeing that the film did not contain the grittiness and realism that was possessed by Saturday Night Fever.

The film is listed in Golden Raspberry Award founder John Wilson's book, The Official Razzie Movie Guide, as one of the 100 Most Enjoyably Bad Movies Ever Made.[23]