The 22 Jul 1979 LAT reported producer Robert Stigwood’s plans to film his next four pictures in New York City, one of which was Stayin’ Alive, anticipated as the sequel to Saturday Night Fever (1977, see entry). Nearly three years later, a news item in the 16 Apr 1982 HR announced that Stigwood convinced actor John Travolta to reprise the role of “Tony Manero” in Saturday Night Fever – II, the film’s working title.
       Screenwriter Norman Wexler told the 27 Jul 1983 Var that he submitted a screenplay to Stigwood in 1978, in which Tony Manero works a number of jobs on his way to finding a permanent career, with “a few dance sequences at parties.” Travolta contracted with Stigwood to appear in the sequel, but did not approve the script, insisting his character should pursue a career as a professional dancer. In Apr 1982, Travolta approved Wexler’s revised screenplay, which the writer believed offered a realistic portrait of an aspiring entertainer. When John Badham, who directed Saturday Night Fever, became unavailable, others possible directors were considered, including choreographer Patricia Birch. Travolta ultimately chose Sylvester Stallone, following the recommendation by Paramount Pictures Corp. president Michael Eisner. Stallone proceeded to rewrite the screenplay independently of Wexler and allegedly submitted it, through Paramount, to the Writers Guild of America (WGA) bearing only Stallone’s name. Although Paramount denied the accusation, arbitration by the WGA was required to ensure Wexler co-authorship credit. The writer described the completed film as “a cliché-ridden, teeny bopper picture.”
       In the 22 Sep 1982 LAT, Travolta argued that Wexler’s first screenplay was inconsistent with his understanding of the character, Tony Manero, and believed audiences “would have hated” the resulting picture. Travolta initially rejected the role in favor of other projects, but later decided to return to musicals while his youth and physical condition allowed. His daily training for the role involved three hours of dance rehearsal and two hours of weight lifting. The actor anticipated a musical score with a jazz element, adding that musician Stevie Wonder agreed to write two songs for the film. Composer Quincy Jones, among others, was also being considered. Travolta agreed to work with Stallone based the “timing, pacing and style” of the director’s most recent film, Rocky III (1982, see entry). Stallone was currently rewriting the screenplay to suit their shared vision of “an ‘event’ type movie.”
       The 22 Sep 1982 HR announced the upcoming production by its official title, Staying Alive. An advertisement in the 2 Nov 1982 HR stated that choreographer Dennon Rawles was auditioning dancers at Paramount Studios in Hollywood, CA. According to the 5 Nov 1982 Back Stage, two weeks of principal photography were scheduled for New York City. Casting was currently in progress on the West Coast, with Joy Todd responsible for background actors. Todd’s name does not appear in onscreen credits. Principal photography began in early Jan 1983, as noted in the 10 Jan 1983 HR and the 12 Jan 1983 DV. The 11 Feb 1983 DV reported that a Beverly Hills, CA, home provided the set for the New York City apartment of the character, “Laura,” played by Finola Hughes in her motion picture acting debut. A news item in the 9 Mar 1983 NYT credited Jeff Zinn as Travolta’s picture double for leg and feet dancing shots, although he is not credited onscreen.
       Articles in the 15 Feb 1983 HR and the 11 Feb 1983 LAHExam reported a jurisdictional dispute between Paramount Pictures and the International Alliance of Theatrical Stage Employees (IATSE) over the use of Los Angeles crewmembers while on location in New York City. Union chief Walter F. Diehl accused Stallone of violating Paramount’s contract with the union, which guaranteed the exclusive employment of local crewmembers during production in the New York City area. Although the contract had expired, it was standard industry procedure to honor its terms until a new contract could be negotiated. Richard Schonland, Paramount vice president in charge of labor relations, argued that the perceived violation consisted of the Los Angeles crew merely performing afternoon and evening camera tests. However, an anonymous source determined the camera tests to be a serious violation, and implied that considerably more photography had taken place. Filming was scheduled to resume in New York City, but Diehl threatened to shut down the production if the dispute was not settled. The outcome has not been determined.
       On 17 Mar 1983, HR reported the completion of principal photography in New York City “ahead of schedule.” Three months later, the 22 Jun 1983 Var announced premiere events in Los Angeles at the Chinese Theatre on 11 Jul 1983, and in New York City at the Ziegfeld Theater on 13 Jul 1983, the proceeds of which benefited the Stallone Fund for Autism Research. An article in the 13 Jul 1983 LAT estimated net proceeds at $150,000. An unnamed source “close to the production” revealed that the music of Frank Stallone, the director’s brother, was featured in the picture after efforts to sign better-known songwriters failed. According to the 19 Jul 1983 LAHExam, the Bee Gees, who also contributed several songs, were dissatisfied with the placement of their music and declined to attend the Los Angeles premiere, reportedly to avoid public embarrassment.
       Staying Alive opened 15 Jul 1983 to mostly negative reviews. However, the 19 Jul 1983 LAT reported earnings of $13 million in the first three days of release, with a twenty-five percent decline in ticket sales the following weekend, as noted in the 26 Jul 1983 LAHExam. The 19 Aug 1983 Var reported gross tickets sales of $42,226,277 in the first twenty-four days.
      End credits include the following statements: “Thank you’s: Jose Eber, Silver Solarium, Yamaha International Corporation”; “Dancewear furnished by Dance Centre”; “Jewelry furnished by Bulgari”; and, “Special thanks to the Los Angeles Philharmonic Auditorium."
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