movie review: ELVIS

After countless TV projects attempting to tell the life story of Elvis Presley, ranging from good (the Kurt Russell TV movie directed by John Carpenter and the short lived Elvis TV series starring Michael St. Gerard) to the decent (the Sun Records miniseries) to the awful (just about everything else), director Baz Luhrmann gives us the first big budget theatrical movie to depict the story of Elvis. Luhrmann gives us a stylized visual epic, that borrows from superhero movies as well as musicals.  

Narrated by Col. Tom Parker on his deathbed, the script streamlines and simplifies Elvis' life in a dizzying pace matched by Luhrmann's fast paced direction. Austin Butler does an excellent job as the title character.  Although visually he looks more like John Travolta than Elvis, he does capture Elvis' mannerisms perfectly.  Tom Hanks as Col. Tom Parker is another story.  Covered in prosthetic make up and sporting a vague Dutch accent, which the real Parker did not have, at least to the outlandish extend Hanks uses it, he turns in a cartoonish performance. Of special note is Olivia DeJonge who plays Priscilla, and nearly steals the show in all of her scenes. 

Elvis being a Captain Marvel Jr fan is well represented in this movie, with lots of references to the Rock of Eternity, and in some ways, this movie is closer to a Captain Marvel movie I would have loved to see as opposed to the New52 Shazam dreck that we got. Plus, we finally get the name "Captain Marvel" spoken and shown in a Warner Brothers movie.

Of course there are some inaccuracies in the movie, such as Elvis performing Trouble about a year and a half too early, and over emphasizing Elvis' love for the blues while seemingly downplaying his love for Country music, and completely ignoring his love for crooners like Bing Crosby and Dean Martin, and the fact by the 1970s his musical tastes in both listening and performing had switched to adult contemporary.  Parker was not discovered to be an illegal immigrant until after Elvis died, again making Hanks' choice to use such a hammy accent more questionable.  But none of this affects the enjoyment of the film.  

Perhaps the bigger flaws are how many things are, understandably due to time constraints, left out or just hinted at in a short-handed way, such as reducing his whole movie career to a 3 minute montage. Or omitting how he worked with producer Chet Atkins in his earliest RCA sessions or really having anything representing Elvis working in the recording studio outside of the iconic first Sun session.  Or completely leaving out the Ed Sullivan Show and the infamous "filmed from the waste up", or the fact that Jackie Gleason gave Elvis his first national exposure by booking him on Stage Show, a program Gleason produced and was the lead-in to The Honeymooners. Or that Elvis was a dog lover, and from the mid-50s on, always had at least one dog. Most of the scenes at Graceland or in his Vegas apartment should have had a dog at Elvis' side. But the main focus of this movie is Elvis and the Colonel, so a lot of other aspects go by the wayside. And although it seems to be a Luhrmann trademark, the melding of rap music throughout the film did nothing for me.  But overall, this was an excellent and enjoyable film, and I can almost see, had Elvis lived long enough, this is exactly the style of film making he would have endorsed for his own bio-pic.

Benjamin Keough, R.I.P

The Presley family has confirmed that Elvis' grandson, Benjamin Keough, died on July 12, 2020 at the age of 27.  Long time readers of this blog may know in the early years of the Shazam movie development, Ben was my pick to play Freddy Freeman/Captain Marvel Jr.

Condolences to the Presley family.

Eternal Rest grant unto him O Lord,
Let perpetual light shine upon him,
May he rest in peace.

The best Elvis songs you've never heard, part 2.

To celebrate Elvis Presley being honored by President Donald Trump with the Presidential Medal of Freedom, I thought I'd take the opportunity to add to my previous list of Elvis' best overlooked and under appreciated recordings.

Good Rockin' Tonight One of Elvis' Sun singles that just doesn't get enough love these days.

Milkcow Blues Boogie is another Sun single that seems to have fallen into the obscure, but has the great lyric "if you don't believe I'm leavin', you can count the days I'm gone".

I Was The One The flip side to Heartbreak Hotel, RCA initially thought it would be the hit.  A classic doo-wop ballad that set the standard for all doo-wop ballads that would come in it's wake.

Too Much is one of Elvis' hits from 1957 that sadly, is today mostly forgotten.

I Need You So is a blues style ballad that that has a beat and swings, with Elvis' vocal really selling it.

So Glad You're Mine is a honky-tonk blues tune written by Arthur Crudup (That's All Right) with some raunchy lyrics.

Is It So Strange is another ballad that Elvis' voice soars to another level.

When It Rains It Really Pours is a song Elvis attempted in the Sun years, but went unreleased.  He tried it again at RCA with a fuller sound (but less lyrics), and still unhappy with the performance, it went on the shelf for several years until finally getting released in 1965.
 
King Creole, the title song from one of his best movies, showcases Elvis with a bigger, Dixieland influenced sound that still rocks.

The Girl of My Best Friend is a bouncy song of unrequited love.

Reconsider Baby A track from the brilliant Elvis is Back! album is perhaps his finest blues performance, with a killer saxophone solo by Boots Randolph.

I Got Lucky  A song from the movie Kid Galahad, this mid-tempo number is all charm and happiness.

Your Cheatin' Heart  Elvis' super-charged cover of the Hank Williams classic rocks.

One Broken Heart For Sale is a quick but great tune written by one of Elvis' best songwriters, Otis Blackwell.

I Gotta Know is a mid-temp rocker with clever lyrics.

It Hurts Me is another great song where Elvis pleads for an unrequited love to give him a chance. Elvis also performed this song in a memorable sequence on his 1968 Comeback Special.

Night Life is an outtake from Viva Las Vegas. Its surprising it has never yet been used to promote Vegas tourism.

Down in the Alley is a great blues jam.

Tomorrow is a Long Time  Elvis sings Dylan.  'Nuff said.

Witchcraft  A completely different song than the standard made famous by Sinatra, but one that swings and rocks.

She's a Machine  A song from Easy Come Easy Go about a girl who is every boy's dream and every mother's nightmare.

Clean Up Your Own Backyard is a great tune accented by some fine resonator guitar riffs.

Polk Salad Annie  A song Elvis never recorded a studio version of, but the live version shows the energy of his concerts in the 1970s.

The Fool is a kind of funky Country track.

Funny How Time Slips Away has Elvis taking the Willie Nelson standard into a bluesy zone.

If You Don't Come Back has Elvis returning to the blues, recorded at the famous Stax studios.

D.J. Fontana, R.I.P.

Dominic Joseph "D.J." Fontana, Elvis Presley's long time drummer, passed away on June 13, 2018 at the age of 87. The trio of Elvis, Scotty Moore, and Bill Black met D.J. during their year-plus stint on the Louisiana Hayride radio program, where D.J. was a staff drummer.  He joined the group, which was informally known as "the Blue Moon Boys", and continued to play with Elvis until 1968.  Arguably the first rock 'n roll drummer, one of his best known drum fills is from Hound Dog.

Eternal rest grant unto him O Lord, let perpetual light shine upon him, may he rest in peace.

Scotty Moore, R.I.P.

We have lost a legend.  Scotty Moore, one of the inventors of Rock 'n Roll, and Elvis Presley's guitar player, passed away on June 28th 2016, at the age of 84. Scotty, an inventive guitar player, virtually invented Rockabilly licks, helped to create Rock 'n Roll, and helped make Elvis the King.

Winfield Scott Moore III was born Dec. 27, 1931, and began playing guitar at the age of 8.  After a stint in the Navy, and taking a gig in a Country Swing band called the Starlight Wranglers, Sun Records owner Sam Phillips assigned Scotty to evaluate a new kid named Elvis Presley.  Together with Starlight Wranglers' bassist Bill Black, the trio created history by recording "That's All Right".   Scotty remained an integral part of Elvis' band throughout the 50s and 60s, even appearing in some of Elvis' movies.  In Jailhouse Rock when Elvis is by the swimming pool singing "(You're so Square) Baby I Don't Care", you can see Scotty in the background playing guitar, with his sunglasses disappearing and reappearing between different camera angles, a continuity error Scotty got a big kick out of.

After Elvis' 1968 Comeback Special, Scotty retired from Elvis' band, and started a second career as a recording engineer. But he would also often dust off the Gibson to perform on various records and concerts for the rest of his life, often in conjunction with Elvis drummer DJ Fontana and the Jordanaires.  One of Scotty's last appearances was with DJ on the TV series Larry's Country Diner on RFD-TV in 2015.

Eternal rest grant unto him, O Lord, let perpetual light shine upon him, may he rest in peace.

Elvis' 80th Birthday

Today would have been Elvis Presley's 80th birthday.  To celebrate, here are the links to the Elvis articles I published on this blog.

The Best Elvis Songs You've Never Heard

Young Dreams: A Look at Elvis' Movies

What If Elvis Lived?

Of course, it needs to be mentioned Elvis was a big fan of The Marvel Family, specifically Captain Marvel Jr.  With the upcoming movie, hopefully the producers (and Dwayne Johnson- who is a self-professed Elvis fan) are savvy enough to be aware of this, and include several of Elvis' tunes on the soundtrack.

Happy Birthday, Elvis.

The best Elvis songs you've never heard.

As we celebrate Elvis' birthday, I thought I'd take this opportunity to put a spotlight on Elvis' best overlooked and under appreciated recordings, similar to my previous Monkees post. 

Many of the songs on this list will be from Elvis' movies, often dismissed, yet the source for some real gems.

Baby Let's Play House is one of Elvis' earliest tracks from the Sun Records era, and if ever there was a very definition of "Rock and Roll", it would be this song.

My Baby's Gone is a slow blues tune recorded at Sun that Sam Phillips felt was a little too bluesy, so it was never released. It was remade as an up tempo Rockabilly number under the alternate title I'm Left, You're Right, She's Gone.  But it's the original blues version that's the winner.

Mean Woman Blues is a highlight from the movie Loving You and became a Rock and Roll standard covered by many other artists, but it's Elvis' original that set the standard.

  

Tell Me Why is a blues ballad that showcases Elvis' vocal range in his early years.

A Fool Such As I  is a great example of how Elvis could take a slow, Country song (originally recorded by Hank Snow) and turn it into a breezy, swinging rocker.

Fame And Fortune is a great do-wop ballad with Elvis in great form.  It was the b-side of his first single after getting out of the army, and first true stereo release.

Like A Baby is one of Elvis' best tracks off one of his best albums, Elvis Is Back! (1960). A blues number that fits Elvis' pleading vocal performance perfectly and is proof that he was one of the best blues singer of all time.

Summer Kisses Winter Tears is a nice Western ballad that was cut from the movie Flaming Star but went on to be released as a single.

That's Someone You Never Forget is a hauntingly beautiful ballad.  It is one of a very few songs Elvis co-wrote when he tried songwriting in the early 1960s with his Memphis Mafioso Red West (tracks from the 1950s that gave Elvis songwriting credit were due to his song arrangements and occasional lyric revisions, the main exception being the four Love Me Tender soundtrack songs, which were essentially a form of "payola"). It's too bad Elvis didn't have the interest to continue with songwriting, as this track proves, in time, he could have been a major songwriting talent.

She's Not You is the result of Jerry Leiber and Mike Stoller teaming up with Doc Pomus, to form a songwriting supergroup.  While not the hard rocking track one would expect from such a collaboration, it is never-the-less, a nice mid-tempo pop tune.

What A Wonderful Life is a swinging, bouncy number from the movie Follow That Dream and in a way, perfectly captures the essence of the "Elvis Presley movie franchise".

King of The Whole Wide World is a bouncy rocker from Kid Galahad.

A Mess of Blues is just what the title says, and has since become something of a blues standard.

Long Lonely Highway is song that urges one to go on even though things aren't very good. Very good track that was later incorporated (with horn overdubs) into the movie Tickle Me. 

Kiss Me Quick is a cute and fun pop track that shows how musically versatile Elvis could be.

C'mon Everybody is a fantastic rocker from the movie "Viva Las Vegas", not to be confused with the Eddie Cochran song with the same title. The official released version was mono, but seeking out the alternate stereo mix is worth the effort, as it really rocks.

The Meanest Girl In Town is a rocker from the movie Girl Happy that was so good, Bill Haley and His Comets recorded it days after Elvis under the alternate title Yeah She's Evil, and rushed its release before Elvis' version with the hopes of reviving the Comets' career.



Spinout is a bluesy, up tempo soul number, kind of a counterpoint to the soul classic Expressway To Your Heart. With its driving bass line, and some killer Hammond organ riffs this is an overlooked gem that would fit in perfectly at dream cruises and classic car shows.  Elvis must have liked the song, too, since when he performs it in the movie of the same name, he breaks into some of his old 1950s dance moves, something he only did in the 1960s when he was really having fun.

Hard Luck from the movie Frankie & Johnny is a great blues tune with some wailing harmonica playing by Charlie McCoy.

Hey Little Girl is a fun and cute rocker from Harum Scarum that really should have been a major hit.

Long Legged Girl (With The Short Dress On) is a short but fun rocker from the movie Double Trouble. With the Jordanaires' old-school doo-wop backing vocals, and Elvis singing great lyrics like "walk in stilts in ten foot leaps" looking for the elusive title character, it is impossible not to like this song.

Too Much Monkey Business is a cover of the Chuck Berry classic Elvis recorded with Jerry Reed providing the guitar work.  Recorded at the same session that included Guitar Man, Big Boss Man, Hi-Heel Sneakers, U.S. Male (arguably an early precursor of rap), and Stay Away Joe, each of these songs are gems and reignited Elvis' creativity after years of soundtrack albums, and was the first step of his "Comeback".  An interesting footnote:  in the 1960s, Elvis was always lambasted by critics for being "out of touch" with the world around him, living in his own protected bubble.  Yet, in this song, Elvis alters Berry's original lyric to include a reference to the Vietnam war.  Maybe Elvis wasn't as out of touch as everyone was led to believe.

Let Yourself Go from the movie Speedway is such a great song that Elvis remade it for his 1968 Comeback special.

All I Needed Was The Rain is a down on your luck blues tune from Stay Away Joe with some great harmonica and resonator guitar.

Wearin' That Loved On Look is a Soul-Rhythm & Blues track from another of Elvis' best albums, From Elvis In Memphis (1969). The entire album is excellent and is, unfortunately, the only all-out Soul/R&B album Elvis ever made.  This song was the first track, and set the pace for the album.

If You Talk In Your Sleep is a funky 1970s track, co-written by Red West, with a "Blues Brothers" style horn arrangement. For most of the 1970s, Elvis' recordings tended to be on the Country-rock side.  So, in the final couple years of his life, when he began to record funky, bluesier numbers like this and Way Down, and treaded into 1950s nostalgia tracks like Pledging My Love and Hurt, it kind of gives you an idea of where Elvis would have gone musically had he lived into the 1980s.

Any one of these songs, if reissued today, would be a number one hit, much like A Little Less Conversation, another lesser known movie soundtrack song, was when it was remixed and reissued in 2002.  I may have to do a "Part 2" to this article sometime.

Young Dreams: A Look At Elvis' Movies

I thought I'd give brief thoughts and reviews to Elvis Presley's movies.  There are two Q and A articles by Sheila O'Mally on her blog that goes into great detail about Elvis' worth as an actor and his movies that are must reading.

Love Me Tender (20th Century Fox, 1956) - Elvis' debut was in a well done western about the real life Reno Brothers (just one year earlier, another movie about the Reno Brothers, Rage At Dawn, was released by RKO Pictures).  Elvis' first attempt at acting is a little wooden, but he showed charisma and screen presence. Beautiful Debra Paget was the leading lady, and Elvis sang four songs that were included on an Extended Play 45 RPM soundtrack.  One of three black and white Elvis movies, and one of only three to have Elvis with his natural hair color.
Overall, story: B+, songs: B,  Elvis' performance: B-.



Loving You

Loving You (Paramount-Hal Wallis, 1957) - Elvis' first starring feature was in color and premiered Elvis' jet black dyed hair.  Loosely based on Mary Agnes Thompson's short story A Call For Mitch Miller, this musical drama with some humor showcases the early Elvis concert performances.  Elvis' band, Scotty Moore, Bill Black, and DJ Fontana, and the Jordanaires, have roles in the movie, with Black even getting some dialogue, much to Col. Tom Parker's dismay, as he saw Bill Black's on stage antics as an attempt to upstage Elvis, though Elvis himself never felt that way, and quite enjoyed Black's comedic antics on stage.  The first of two movies to have future nun Delores Hart as leading lady.   Elvis' acting is still a little wooden, but his charisma and screen presence get stronger.  Elvis' parents can be seen in the audience near the end of the film. Elvis is said never to have watched this movie again after his mother died. Monkee connection: it is said a line of dialogue in this movie inspired the name of the Monkees. At one point Deke (Elvis), in a moment of rebellion, says to his over bearing manager, "a monkey in a zoo... that's what you're selling... that's what you want." The soundtrack album contained the film songs on side A, while side B had non-film songs.
Overall, story B+, songs: A+, Elvis' performance: B.



Jailhouse Rock

Jailhouse Rock (MGM, 1957) - Elvis' first MGM movie is perhaps his most popular.  Playing a jerk, Elvis hits his stride in acting, and although a drama, he shows signs of great comedic timing. Jerry Leiber and Mike Stoller were given the task of composing the entire soundtrack, and Stoller appears in the film as the piano player, with Elvis' regular band of Scotty, Bill, and DJ.  While on set, Leiber and Stoller attempted to give career advice to Elvis, encouraging him to sign on to Walk On The Wild Side with director Elia Kazan.  This outraged Col. Parker who banned Leiber and Stoller from Elvis' inner circle.  The "Jailhouse Rock" sequence is considered perhaps the very first "music video" in Rock and Roll history. The second of three films in black and white, and Elvis seems to have curly or wavy hair in this one. The leading lady, Judy Tyler, tragically died in a car accident before the film was released.  Out of respect for her, Elvis did not go to the movie's premier, and is said never to have watched the completed movie in its entirety.  Mickey Shaughnesay, who played Elvis' cellmate Hunk, prior to being cast in the film, was said to have stinging criticisms of Elvis in his night club act.  The film had six songs, five of which were on an Extended Play 45 RPM soundtrack. 
Overall, story: A, songs: A+, Elvis' performance: A+.

King Creole with Walter Mathau and Vic Morrow

King Creole (Paramount-Hal Wallis, 1958) - This was Elvis' cinematic masterpiece. Directed by Michael Curtiz, who directed Angels With Dirty Faces, Casablanca, and many others, and featuring a top notch cast including Walter Matthau, Carolyn Jones, Delores Hart, Dean Jagger and Vic Morrow. This film, based on the Harold Robbins novel A Stone For Danny Fisher, was originally slated to star James Dean.  When Elvis stepped in after Dean's death, the story was reworked for the main character being a singer instead of a boxer.  Elvis, under Curtiz's direction, hits a home run. The first movie to have a full soundtrack album.  Originally slated to be in color, Curtiz made the artistic decision to film in black and white for a gritty, moody look.  Scotty, Bill, and DJ, and the Jordanaires can be seen as members of the band at the King Creole Club.
Overall, story: A+, songs: A,  Elvis' performance: A+.

G.I. Blues (Paramount-Hal Wallis, 1960) - Elvis' first movie after the army, and his first to be directed by Norman Taurog (who would ultimately direct nine Elvis movies). This is also his funniest Paramount movie.  Elvis has great comedic timing in this one, and even gets close to doing some slapstick.  A lot is said about Elvis' acting talent being wasted and how he could have been a great actor, but I think his real calling may have been comedy.  Juliet Prowse is the leading lady. Scotty and DJ make their final on screen appearance in an Elvis film, as musicians in a German club (Bill Black left Elvis by this time).
Overall, story: B, songs: B+, Elvis' performance: A.

Flaming Star (20th Century Fox, 1960) -  Decent western of a half-breed torn in an Indian-White man war, based on Clair Huffaker's novel Flaming Lance. Marlon Brando was originally slated to star. Leading lady is Barbara Eden. Elvis only sings two songs early in the film.
Overall, story: B, songs: title song gets a B, Cane And A High Starched Collar gets a C, Elvis' performance: B+.

Wild In The Country (20th Century Fox, 1961) -  screenplay by Clifford Odets based on J.R. Salamanca's novel The Lost Country (later renamed Wild In The Country after the movie's release).  A fitting follow up to King Creole has Elvis easily handling a dramatic role of a troubled youth, and has great chemistry with leading lady Tuesday Weld. Batman connection: Alan Napier plays a college dean. This movie did not get a soundtrack LP or EP.
Overall, story: B, songs: B, Elvis' performance: B+.

Blue Hawaii (Paramount-Hal Wallis, 1961) - loose remake of Wallis' Bing Crosby movie Waikiki Wedding.  A fun and enjoyable lightweight film with lots of scenic shots. The light script takes a dark turn when teenage Elle attempts suicide. Perhaps Elvis' biggest hit at the box office, compared to the lesser success of  Flaming Star and Wild In The Country, which cemented his fate with formula pictures.
Overall, story: C+, songs: B-, Elvis' performance: A-.



Follow That Dream

Follow That Dream (United Artists, 1962) - based on Richard P. Powell's novel Pioneer Go Home! this was Elvis' funniest comedy.  Directed by Gordon Douglas, who directed many Our Gang Comedies in the mid to late 1930s. Second of three movies where Elvis has his natural hair color. Has an Extended Play 45RPM soundtrack.
Overall, story: A, songs: B+, Elvis' performance: A+.

Kid Galahad  (United Artists, 1962) - based on the Frances Wallace novel and a remake of a 1937 movie of the same name, starring Edward G Robinson, Bette Davis, and Humphrey Bogart, and directed by Michael Curtiz.  Elvis lobbied for Curtiz to direct the remake, but Phil Karlson was tapped.  Features Charles Bronsan.  Third of three movies where Elvis has his natural hair color. Batman connection: David Lewis has a small role. Has an Extended Play 45RPM soundtrack. Overall, story: B+, songs: B+, Elvis' performance: B+.

Girls! Girls! Girls! (Paramount-Hal Wallis, 1962) - the first of what could be called the "Elvis formula" movie.  Elvis is back to dyed black hair, and the first of two movies where his hair is literally shellacked.  Elvis lost weight and is very thin in this movie.  Filmed on location in Hawaii.
Overall, story: C, songs: Girls! Girls! Girls! and Return To Sender get a B+, while the rest of the soundtrack gets a C, Elvis' performance: B-.

It Happened At The World's Fair (MGM, 1963) Elvis' first MGM movie since Jailhouse Rock seems to be an effort to imitate the Hal Wallis-Paramount formula rather than following up their own punk classic. Never the less, actually an enjoyable film. Kurt Russell, who would play Elvis in the Dick Clark produced/John Carpenter directed TV bio-movie, has a small role.  Vickie Tiu who plays little Sue Lin, nearly steals the movie, and her scenes with Elvis are very sweet. Elvis looks good in his tailored suits and is very thin.  Second of two movies with his hair shellacked. Batman connection: first of two movies with Yvonne Craig, and ironically, Olan Soule (who was the voice of Batman in cartoons from 1968 thru 1986) plays her father.  Soule also did an episode of The Monkees.
Overall, story: C+, songs: B-, Elvis' performance: B.

Fun In Acapulco (Paramount-Hal Wallis, 1963) A decent script, with Elvis' character given some emotional heft, but the songs are very weak.
Overall, story: B, songs: Bossa Nova Baby gets a B, the rest C-, Elvis' performance: B+.

Kissin' Cousins (MGM, 1963) - An average movie. Elvis plays two roles, and one can only wonder if Col. Tom Parker negotiated two paychecks for Elvis.  The movie has some funny moments and a few good sight gags.  The plot is okay, the songs are average.  The directing and editing are sloppy when both Jodie and Josh are on screen together, there is little effort to hide the fact one of them is Elvis' stand-in.  The final musical number is likewise marred by bad jump cuts. Ironically, it also has two different songs titled "Kissin' Cousins". This is the second and last Elvis film to feature future Batgirl Yvonne Craig. MGM and NBC attempted to spin this movie into a TV series, with Edd "Kookie" Byrnes in Elvis' role, but only a pilot episode was filmed.
Overall, story: C+, songs: Kissing Cousins and Smokey Mountain Boy get a B, the rest a C, Elvis' performance: B-.

Viva Las Vegas (MGM, 1964) - One of the better formula movies with a very good soundtrack.  Elvis is a race car driver who gets involved with a swimming instructor played by Ann Margaret. The two have great on screen chemistry. Features William Demarest (Uncle Charlie on My Three Sons). Although there were enough songs for a full soundtrack LP album, RCA originally released an Extended Play 45RPM record.
Overall, story: B, songs: A-, Elvis' performance: A.

Roustabout (Paramount-Hal Wallis, 1964) - A more serious movie, with Elvis, as in Jailhouse Rock, playing an angry jerk who has to take a job at a carnival when his motorcycle is wrecked. Co-stars Barbara Stanwyck.  Monkee connection: Richard Kiel.
Overall, story: B, songs: B-, Elvis' performance: B+.




Girl Happy first of 3 movies with Shelley Fabares

Girl Happy (MGM, 1965) - Despite the unacceptable tampering of a couple of the songs being sped up (the title tune- which if you listen to the recording session, in between takes, Elvis keeps saying the tempo should be faster - and Wolf Call), this is actually a fun movie.  Probably inspired by the success of the Beatles, Elvis is cast as member of a rock group quartet (Bing's son Gary Crosby, Jimmy Hawkins,  and Joby Baker), and they romp around Ft Lauderdale Florida during spring break in a pre-Monkees kind of way.  Coincidentally, a Monkees connection with Nita Talbot, who plays a stripper in Girl Happy, and a martian in Monkees Watch Their Feet.  The first of three movies with Shelley Fabares (and said to be Elvis' favorite leading lady). The Spring Fever sequence is a precursor to the Summer Nights sequence from Grease. 
Overall, story: B+, songs: B (despite the sped up tampering), Elvis' performance: B+. 



Tickle Me with Jocelyn Lane

Tickle Me (Allied Artists, 1965) - This was a very good movie, with some good comedy.  The script was written by Three Stooges and Bowery Boys alumni Edward Bernds and Elwood Ullman, and you can pick out many Stooges gags in the film.  Elvis shows some very good comedic timing. In some ways, this movie is almost like an episode of The Monkees with some surreal humor and an Old West fantasy romp.  Unlike all other Elvis movies, no songs were written for this film, but rather excellent tracks from prior non-soundtrack albums were used.  Unfortunately, string and horn overdubs were added to the mix. Director Norman Taurog did a great job, but one can't help but wonder how Monkees director James Frawley would have handled it. Leading lady Jocelyn Lane is perhaps the most stunning of all Elvis movie actresses.
Overall, story: B,  songs: A-,  Elvis' performance: A.

Harum Scarum (MGM, 1965) - I avoided watching this movie for many years, as it has a reputation of being the worst movie Elvis ever made. But when I finally did see it, I didn't think it was quite that bad. The title makes you believe the movie is a silly comedy, but on the contrary, it is actually the closest thing to an action film Elvis ever made. It has a rather dark plot.  Elvis plays Johnny Tyrone, a Hollywood actor who gets kidnapped by middle eastern rebels who intend on forcing him to kill a king.  The So Close Yet So Far  scene is filmed in a unique and atmospheric way. 
Overall, story: C, songs: Hey Little Girl and So Close Yet So Far get a B+, the rest C-,  Elvis' performance: B-.

Frankie And Johnny (United Artists, 1966) - Very enjoyable movie based on the classic blues tune, co-starring Donna Douglas (Beverly Hillbillies) and Harry Morgan (Dragnet and M*A*S*H ). Batman connection, Nancy Kovack. 
Overall, plot: B+, songs: B, Elvis' performance: A-.

Paradise Hawaiian Style (Paramount-Hal Wallis, 1966) - Elvis is a little overweight in this one. OK plot, awful songs. Much of the movie was filmed on Hollywood soundstages, which is why many scenes look more like Gilligan's Island rather than Blue Hawaii.
Overall, plot: C, songs: Datin'  and A Dog's Life get a C+, the rest a D,  Elvis' performance: C.



Easy Come Easy Go

Spinout (MGM, 1966) - For the second time, Elvis is cast as a member of a rock group quartet, once again with Jimmy Hawkins as one of the members. Shelley Fabares is also back from Girl Happy in her second Elvis movie. In addition to echoing Girl Happy, this one also reprises the race car concept from Viva Las Vegas. The songs are slightly stronger than Girl Happy due to no tampering with the speed, but the plot is weaker.  If the producers would have brought Gary Crosby back, and made it a full fledged Girl Happy sequel, it might have fared better.  Even so, still a fun and enjoyable film. The girl dancers in this movie also appeared throughout season one of The Monkees, and during the party scene where Elvis sings "Spinout", several of the girls are wearing the same outfits they would later wear in The Monkees' episode "The Chaperone". Batman connection: Diane McBain. Overall, story: B-, songs: B, Elvis' performance: B.

Easy Come Easy Go (Paramount-Hal Wallis, 1967) - Elvis is a scuba diving treasure hunter. Elvis' final movie for Paramount-Wallis.  It also has the fewest songs of any of the Wallis films, getting an Extended Play 45RPM soundtrack.  Features Pat Harrington Jr. Batman connection: the hot rod in the movie would become the Joker-mobile.
Overall, story: C, songs: C, Elvis' performance: B-.

Double Trouble (MGM, 1967) - Average movie where Elvis gets involved with a British teenage heiress.  Set in Europe, but filmed in Hollywood. Originally, The Three Stooges were going to appear in the movie, but scheduling conflicts resulted in them dropping out and being replaced by The Weire Brothers. Monkees connection: Monty Landis and Chips Rafferty.
Overall, plot: C, songs: Long Legged Girl gets an A, the rest B-, Elvis' performance: B-.

Clambake

Clambake (United Artists, 1967) - Third movie with Shelley Fabares, and the first with Bill Bixby. Good script based on the Prince and the Pauper story.  Monkees connection: Jack Good. 
Overall, plot: B, songs: B-, Elvis' performance: B.

Stay Away Joe (MGM, 1968) - Comedy with a lot of sight gags, based on the Dan Cushman novel of the same name. First movie to break the Elvis formula.  Batman connection: Burgess Meredith. No soundtrack album was released for this movie. Overall, plot: B-, songs: B-,  Elvis' performance: A-.

Speedway (MGM, 1968) - Another Viva Las Vegas style race car film, this time with Nancy Sinatra and Bill Bixby.  Monkee connection: Carl Ballantine.
Overall, plot: C, songs: Let Yourself Go gets an A, Your Time Hasn't Come Yet Baby and Your Groovy Self  get a B, the rest C,  Elvis' performance: B.

Live A Little Love A Little with Elvis' Great Dane Brutus as Albert

Live A Little Love A Little (MGM, 1968) - Funny comedy based on Dan Greenburg's novel Kiss My Firm But Pliant Lips, with Elvis, hilarious as a cranky grouch, doing great deadpan deliveries.  Albert the Great Dane was really Elvis' dog Brutus.  I wonder if Col Parker got him a bigger paycheck than Darren #2 Dick Sargent?  You know Elvis is having fun when he breaks into his old 1950s dance moves (as he also did in Spinout).  Leading lady: Michelle Carey. Director Norman Taurog's final movie. No soundtrack album was released for this movie.
Overall, plot: A-, songs: B-, Elvis' performance: A+.

Charro! (National General, 1969) - Elvis' third western, and only non-singing role, although he does perform the theme song over the opening credits.  Based on Harry Wittington's novel, which was published after the movie's release. Features Victor French (Little House On The Prairie).
Overall, plot: C, song: C+, Elvis' performance: B-.

The Trouble With Girls (MGM, 1969) - based on the novel Chautauqua by Day Keene and Dwight Babcock.  In development for nearly a decade, and originally slated to star Dick Van Dyke. Features future star Dabney Colman, John Carradine, Joyce Van Patten, and Family Affair's Anissa Jones, with Danny Bonaduce (The Partridge Family) and Susan Olsen (The Brady Bunch) in uncredited cameos.  Batman connection: Vincent Price. No soundtrack album was released for this movie. Overall, plot: C, songs: B, Elvis' performance: B+.


Change Of Habit

Change Of Habit (Universal, 1969) - Produced by Joe Connelly (who was Catholic) and Bob Mosher, the team that created Leave It To Beaver and The Munsters, Elvis' final acting performance is superb. Intentional or not, this movie gives us a glimpse of the chaotic years following the Second Vatican Council, when the Church seemingly lost her way, jettisoning all things spiritual and mystical while becoming utterly fixated on social justice.  This is underscored by Sister Barbara (Jane Elliot) who quits being a nun, feeling the Church is too restrictive, to become a full time social worker. Originally, this film was slated to be a starring vehicle for Mary Tyler Moore, and to air as a TV movie.  Once Elvis signed on, he got top billing, and the movie went into theatrical release (although it did air as a TV movie in some European countries). No soundtrack album was released for this movie.
Overall, plot, B+, songs, B-, Elvis' performance: A.

That's The Way It Is (MGM, 1970) - Great concert film/documentary that showcases Elvis' Vegas show.  The "special edition" version is even better than the documentary-heavy original theatrical version.

Elvis On Tour (MGM, 1972) - A slightly inferior sequel to That's The Way It Is that follows Elvis on a breakneck tour.  No soundtrack album was released for this movie.

Happy Elvis Day

Today is the anniversary of Elvis Presley's birthday. Elvis was not only the King of Rock and Roll, but as a kid, he was a comic book fan, with Captain Marvel Jr. being his favorite.  I can only imagine Elvis, as a 6 year old kid, being thrilled by the Adventures of Captain Marvel movie serial.  Or as a reclusive superstar in his late 30s, getting up early (or more likely, staying up late) to catch the Shazam! TV series on Saturday mornings.  I can only imagine what he would have thought of the current Curse of Shazam reboot.  Happy Birthday, Elvis.

What If Elvis Lived?

I'm a lifelong Elvis fan, and one of the things I've often thought about is, what if Elvis lived into the 1980s and 90s. What kind of music would he have recorded? If you look at his evolving styles of the previous decades, it may give you an idea of where he was headed. When he started out at Sun Records in the mid 1950s, he was pure rockabilly: a simple blend of blues and country.  By time he signed to RCA, his repertoire expanded in favor of harder, blues based rock 'n roll and doo-wop inspired ballads.

After his stint in the Army, he took on a softer pop sound, though still laced with some harder blues.  His first post-Army album, Elvis Is Back! is one of the greatest rock albums in history, highlighted by a pair of blues tracks, "Reconsider Baby" and "Like A Baby".  During the "Hollywood Years" of the 1960s, his movie soundtrack albums were pure bubblegum. In 1967, Elvis got back to his blues based rock 'n roll roots at a recording session that featured Jerry Reed on lead guitar. The next year, he made his famous "1968 Comeback Special" which highlighted blues and gospel performances. He followed that in the next year with what could be considered a pure soul and blues album, From Elvis In Memphis.  From there he went to Las Vegas with a Country rock sound.  As the 1970s rolled on, his sound became more Country, although he still dabbled in some isolated blues style tracks such as "If You Talk In Your Sleep" and "Got My Mojo Working".  By the time of his death in 1977, America was at the height of a 1950s revival, and Elvis was releasing many 1950s inspired tracks, such as "Little Darlin'", "Way Down", and "Pledging My Love".

My own personal speculation is, in the late 1970s and through the 1980s, Elvis would have adopted a rhythm and blues sound not unlike The Blues Brothers, or perhaps The J. Geils Band, perhaps with some rockabilly mixed in, as it was having a revival at this time thanks to the Stray Cats.  He would have dropped the full orchestra and string section he had been using on his albums and concerts throughout the 1970s, and would have revamped his band to include a four piece horn section.  Perhaps, after John Belushi died, Elvis may have even tapped members of the Blues Brothers Band for his own band.  The line up may have been something like Scotty Moore, bandleader and guitar; Matt Murphy, lead guitar; Floyd Cramer, piano; Booker T. Jones, Hammond organ; Donald Dunn, bass; Ronnie Tutt, drums; James Cotton, harmonica; and the horn section: Alan Rubin, Tom Scott, Tom Malone, and Lou Marini; and The Jordanaires on background vocals.

Also gone would be the jeweled caped jumpsuits that signified the 1970s. In the 1980s, he would have gone back to performing in bright color sport coats, as he did in the 1950s, and would have trimmed his hair and sideburns back to the style he wore on the 1968 Comeback Special.

In the 1990s, I think Elvis would have moved on from his rhythm and blues sound, and would have taken on more of a Country pop sound that became popular in that decade under the brand name "Young Country".  But the difference with Elvis would be, I would think, he would make it a little more bluesy and perhaps even have a slight grunge edge, unlike the typical "Young Country" artists of that era.  He would let his hair go slightly gray with shorter 1950s era sideburns, and his sport coats would be in darker colors.

By the late 1990s and into the 2000s, I think Elvis would be performing in tuxedos and his sound would be more middle of the road pop, but still with a slight rockabilly or blues edge to it. I think he would also be embracing the doo-wop revival that began at this time, and is still going today.