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Eletään vuotta 1961 ja kaksi vuotta on kulunut kun alkuperäinen Grease-jengi valmistui Rydell High:sta. Kampuksella on nyt uusi yläluokkalaisten jengi, mutta mukana on myös monia tuttuja kasvoja. T-Birdin kundit ja Pink Ladyt ovat vieläkin supersuosittuja johtajinaan Stephanie (Michelle Pfeiffer ensimmäisessä pääroolissaan) ja Johnny (Adrian Zmed). Nuorten rakkaus rakoilee, ja Stephanie on iskenyt silmänsä uuteen upeampaan kundiin. Koulun uusi oppilas Michael (Maxwell Caulfield) on täysin ihastunut Stephanieen, vaikka tämä ei edes huomaa koko poikaa. Vaikka ilmassa on ihmissuhdeongelmia, Rydell Highissa osataan myös pitää hauskaa. (Paramount Home Ent. Fin.)

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englanti Grease, set in 1958, is one of the most overrated films ever, so I'm not surprised that this 1961 sequel (with a touch of 1982) is doing so "poorly." It's crap, but plenty of other sequels offend me more. It still has a bit of charm here and there, but not enough for a guilty pleasure. And Michelle Pfeiffer? She needed her first blockbuster, so there's nothing to worry about regarding her. This film took her away from the TV and that was the purpose, followed by De Palma. Personally, I was honestly surprised by the number of people involved in both films. Frenchy - Didi Conn was familiar to me at first glance, but after that I had to look for names: Principal McGee - Eve Arden, Blanche Hotel - Dody Goodman, Coach Calhoun - Sid Caesar, Mr. Rudie / Mr. Spears - Dick Patterson, Eugene Felnic - Eddie Deezen, Leo, Scorpions member / Balmundo - Dennis Stewart, dancers - Helena Andreyko, Sandra Gray, Dennis Daniels, John Robert Garrett, Andy Tennant. Greg Rosatti went from dancer behind the camera to choreographer, while producer Allan Carr, Neil A. Machlis and Robert Stigwood, editor John F. Burnett, and production manager Neil A. Machlis all stayed on. Sean Hanley moved from one sound job to another, June Edgerton again contributed to the music, Michael Gibson and Bill Oakes moved from the music department to the production department, Louis St. Louis became the main composer after a previous collaboration, Patricia Birch remained as choreographer, and the look of the credits in both cases was the work of Wayne Fitzgerald. ()

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