Elvis’ Iconic TV “Comeback Special” 1968

Presley's 1968 TV special proved that Elvis was back!

I was astounded to learn that Elvis Presley, prior to his ’68 NBC “comeback special,” had not performed live since he got out of the Army. One of the most dynamic performers, Elvis wasn’t doing what he did best. Instead, Presley cranked out what was once called "drive-in movies." The response to his TV special was so great that Elvis did a Las Vegas residency a year later, and then took to touring with a vengeance—which may have been his undoing.

Though Elvis Presley's special was the number one show of the week, when it aired Dec. 3, and the highest rated program of the 1968-9 season, it got zero Emmy nominations. This reminded me that Elvis won three Grammys in his music career—for his gospel music. Sometimes the greatest artists in their fields are the least rewarded when it comes to awards from the industry.   

Elvis Presley decided to shake up his stagnant career with this TV special.

       

Allan Blye and Chris Bearde wrote the special, and they later went on to write for The Sonny and Cher Comedy Hour, which also gave those flagging pop stars’ a big career boost. At first, Elvis’ special was to be Christmas themed, per manager Colonel Tom Parker's wishes. But Presley thought that was too square, as did director Steve Binder. It's been noted elsewhere that Elvis performing casually surrounded by musicians and audience was a preview of MTV Unplugged. This was a unique opportunity for Presley to strip away the glitz of his movie image and proved that he was still the King of Rock.

Elvis sharing a laugh with director Steve Binder, on the set of Presley's TV special.

Elvis Presley easily showed that he still looked and sounded great. He performed some his favorite songs in a loose storyline. For the mini-concert/jam session, Presley wore the memorable black leather jumpsuit. He also sported some awesome suits, one that made him look like a rock version of Rhett Butler.

What is outrageous to me is that the show’s creators had to scramble for an audience come taping time, because Colonel Parker was lackadaisical in the handpicked audience he had promised. So, the producers found most of their audience in nearby restaurants and bars! 

The special opens with “Trouble” and “Guitar Man.” This is done so dang stylishly, that it looks like a forerunner to an MTV video. Elvis in huge close-up, then shown in black, save for red scarf, performs both numbers with great energy and confidence. The background gradually changes to silhouettes of guys with guitars in blocks, recalling “Jailhouse Rock.” The number ends with Elvis standing in a giant red neon light version of his name—talk about branding!

Elvis Presley in the red-hot opening number, "Trouble/Guitar Man."

The iconic Black Leather suit session starts with one of Elvis’ early numbers, “Lawdy Miss Clawdy.” Presley had an amazing voice live, his small audience is enraptured, and Elvis is obviously having a great time with them and his one-time playing buddies. “Baby, What Do You Want Me To Do?” stops when Elvis makes fun of his lip curl, "which I did for 29 pictures.”

He then stands up for his next song, looking like a million in that suit, which would make Harry Styles green with envy. Funny, I thought Elvis was on the short side, like so many of his contemporary heartthrobs. Presley looks long and leggy in that slim cut black leather. And I love that powerhouse rock opening to “Heartbreak Hotel.” The audiences goes nuts when he launches into “Hound Dog,” and is that really pre-stardom Cheryl Ladd in yellow, sitting in the front row, as rumor has it? Ladd would have been 17. Probably not, but it does look like her!

Some folks on the Internet think this is a young Cheryl Ladd in the audience.
Likely not, but there is a resemblance.

“All Shook Up” gets the sexy treatment, grunts and all. Elvis is very physical here, agile and all animal energy. Presley effortlessly slips into ballad mode in one his best, “I Can't Help Falling in Love with You,” though the orchestration and back up is intrusive.

Elvis gives a wow version of “Jailhouse Rock.” Some critics compared his energy unfavorably to the past... like when he was 18. Presley's a pistol here! He then plays around on “Love Me Tender,” but then gets serious and sells the song.

Elvis Presley in the "unplugged" mini-concert segment, with very adoring fans!

Presley introduces the gospel segment, one of the show's best, by talking about how he and others who have come along in rock music owe a debt to gospel and rhythm and blues. This belies the notion that Elvis just appropriated black music. He grew up with it, was actually immersed in it, and always acknowledged those roots. 

Love Elvis in his red suit and Darlene Love and the Blossoms with their white dresses, who come out snapping their fingers to the beat! “Where Could I Go But the Lord?” gets things started. “Up Above My Head” kicks it up a notch, with the back-up singers and dancers getting their moments to shine. With Elvis in charge, he leads them into the showstopper “Saved,” and they all knock this one out of the park.

Elvis and The Blossoms (the great Darlene Love at right!) --love Presley's red suit!

Then, back to the black leather jump suit mini-concert, where Elvis’ guitar-playing was showcased on “Baby, What Do You Want Me to Do?” Presley then segues into “Blue Christmas,” an all-time fave of mine. And Presley’s, too!

The effect Presley had on his audience is demonstrated here. Elvis is very playful with the audience and increasingly relaxed as the show goes on. “One Night with You” gets them standing up, with his musician pal holding the mike stand for Elvis! “Memories” has the women melting. Again, Presley was a great ballad singer as well as rocker. The mesmerized looks of adoration... wow!

The “Nothingville” segment shows Elvis in all denim, backed by neon highway lines! He then reprises “Guitar Man,” which leads into him slumming through a shady side of town. Shouldn’t have this come before the “Gospel” section, finding redemption?

Elvis Presley takes a walk on the wild side in blue denim in "Nothingville."

The sexiness of this segment is very ‘60s, like the other staged segments, but comes off a bit dated. Still, it’s fun and there’s some great classic tunes mixed with the new material that strings these songs together. “Let Yourself Go” gets by but “Big Boss Man” and “Little Egypt” are great fun. The latter has Elvis sporting a glittering gold suit, another nod to the past. Elvis the peacock changes suits several times here, during another chorus of “Trouble.” Back to his audience and in black leather, a finale of “Guitar Man” and he walks off into the highway set.

Elvis sings one more chorus of "Guitar Man" before heading off that highway set.

"If I Can Dream" was specifically written for Elvis by Earl Grant, for this special. Grant took how Presley felt about the recent Martin Luther King assassination and wrote this song. Also noteworthy, Robert F. Kennedy was assassinated during the making of this special. Naturally, controlling Colonel Tom Parker didn't like the song, but Elvis insisted on recording the number, and it later became Presley’s biggest hit in years.

“If I Can Dream” was a nod to Martin Luther King much in the way Judy Garland performed “The Battle Hymn of the Republic” on her legendary series as a tribute to JFK, who had just been assassinated. In both cases, their respective networks were leery, but both stars insisted. And the result was two memorable, heartfelt performances.

Elvis Presley gives his all for the finale, "If I Can Dream."

This finale, so powerful, has Elvis singing his heart out in a white suit, who just says a simple farewell when he’s done. Elvis has been gone 45 years this Aug. 18, 2022—one of many singers gone before his time. This special proves that at 33, Elvis Presley still had a few great years left.

Stay golden, Elvis Presley!

Here’s one of my favorite Presley pictures, Loving You, with Elvis at 22!  https://ricksrealreel.blogspot.com/2019/08/elvis-presley-fans-still-loving-you-1957.html

And here’s my take on the very first bio pic of Presley, 1979’s Elvis, with Kurt Russell, directed by John Carpenter:

https://ricksrealreel.blogspot.com/2022/07/kurt-russell-excels-as-elvis-1979.html

Elvis Presley's "Comeback Special" proved that he hadn't left the building just yet.

Elvis & Ann-Margret Rock ‘Viva Las Vegas’ 1964

Ann-Margret & Elvis Presley are a dynamic duo in 1964's "Viva Las Vegas."

 

Viva Las Vegas is a fun bit of fluff, and all the credit goes to its well-paired stars, Elvis Presley and Ann-Margret. There's virtually no plot, even for an Elvis movie. Yet, when the two stars banter and bicker, or sing and dance, you marvel at their youthful beauty, sex appeal and energy, and charismatic talent. They're a high-voltage wow together. 

Elvis Presley& Ann-Margret's chemistry was red hot in 1964's "Viva Las Vegas."

Elvis Presley's character Lucky Jackson is so multi-talented. He's a race car driver who also sings and plays guitar. He can fly a helicopter and he's also a waiter on the side. Side hustles, as the kids say today. Ann-Margret is Rusty Martin, a children's swimming instructor who just happens to sing and dance as well. A “lucky” coincidence!  A-M’s dancing is so energetic that audiences can burn calories by just watching her. Her singing, however, is a matter of taste. I am just not a fan of A-M’s babykins voice with that exaggerated vibrato.

Elvis' Lucky knows his way around a chopper as well as race car in "Viva Las Vegas."

Elvis is a most dapper dresser and dons some unusual suits and mod boots. Ann-Margret is utterly adorable as the kitten with the whiplash hair! And for most of the movie, A-M is at her ‘60s slinkiest, with sleek outfits that show off her figure and a simple, long wave of hair. It’s only in later scenes that she is teased, lacquered, or bewigged, and then the artificial ‘60s Ann-Margret intrudes. It's great fun to watch the stars rock the 1964 fashions in their glorious youth. There’s great humor and chemistry between Elvis and A-M, which was much noted at the time.

Ann-Margret looks simply lovely here as Rusty Martin in "Viva Las Vegas."

...in scenes like this, Ann-Margret looks like Jiffy-Pop! 

The padding is mostly tolerable, but the merry chase through casino showrooms looking for Rusty is a total time waster. Lucky and Rusty’s date day is just watching the stars clowning, but they make it fun. That Elvis sings "Viva Las Vegas" three times in an 85-minute movie speaks volumes to the filler in this slight feature film.

The title tune "Viva Las Vegas" is performed three times in less than 90 minutes!

Presley and A-M’s numbers together are great fun and the highlight of the Viva Las Vegas. The midsection has the best of them, where Elvis sings and gyrates, as Ann-Margret whips herself into a sexy frenzy. In the background is Teri Garr in a black and white dress for “That's What I Say.” And the girl “with the red dress on” is Toni Basil. The three song medley is a mashup of high energy fun.

That's Teri Garr in B&W on the left, looking rather glum throughout this number!

After that, it's a lot of slapstick, and A-M going from her most appealing to comically caterwauling through a couple of numbers. Ann-Margret was one of many female stars promoted as the next Marilyn, after Monroe's recent death. Her "Appreciation" number is a weak take off on some previous MM numbers, particularly of a bad MM number, "Specialization" from Let's Make Love. The shellacked, artificial A-M in these scenes was considered sophisticated. Most likely this came from director George Sidney, who was enamored/obsessed with A-M, when they made three films together. It was said that Colonel Tom Parker had to remind Sidney that this was an Elvis movie. Note the finale, where Elvis and A-M share a split screen together to sing the title tune, and one wonders if even Presley was tired of vying for the screen with A-M.

Ann-Margret in ruffles and a fall; Cesare Danova, sporting Tony Polar's
"Valley of the Dolls" nightclub act suit?

Elvis Presley is at his mid-movie career best: he sings and looks great, plus his natural self-deprecating humor is put to good use in the boy-meets-girl scenario. This may have been Presley’s introduction to Las Vegas, where Elvis would be a top attraction in the next decade, as would Ann-Margret.

Elvis Presley's Lucky is gambling on love in 1964's "Viva Las Vegas."

Craggy William Demarest (My Three Sons) plays A-M’s father, amusing, since he was 72 at the time to her fresh-faced 23—hey, that’s show biz! Cesare Danova is Elvis’ rival on the race track and for Ann-Margret’s Rusty. Since A-M’s hard to get attitude toward Presley’s Lucky is practically non-existent, Danova’s not much of a threat.

Director George Sidney displays all of Ann-Margret's charms in "Viva Las Vegas."

Viva Las Vegas is no musical classic, but is a tasty trifle. Just enjoy these great stars in their prime, some fun song and dances, and nostalgic Las Vegas scenery—forget the rest!

Here’s my look at one of Elvis Presley’s best, Loving You: https://ricksrealreel.blogspot.com/2019/08/elvis-presley-fans-still-loving-you-1957.html 

Love this candid shot of Ann-Margret & Elvis Presley on set of "Viva Las Vegas."

Kurt Russell Excels as “Elvis” 1979

Kurt Russell, in the role that changed his career: 1979's "Elvis."

Elvis was a career-changer for Kurt Russell for several reasons. First, this was Russell’s big dramatic break as an adult actor. Like Ron Howard, Kurt was a popular child and teen actor, and both moved on to adult roles, but cast as bland boyish types. Well, after Happy Days Ron Howard found his happy ending in directing. And after a slew of TV roles in cop shows and westerns, Kurt Russell was cast by director John Carpenter in Elvis. Raves for Russell as The King of Rock then paved the way for his movie career. Kurt and Carpenter went on to work in four feature films together, including the cult classic, Escape from New York. Finally, Russell and Season Hubley met on the set of Elvis and married shortly afterward, for four years.

I’ve read while John Carpenter was excited by the prospect of making the Elvis Presley story, he was disappointed by the lack of creative control he had over the project. While his Halloween was a surprise movie smash, apparently it didn’t translate to network TV. ABC and their long-time artist/producer Dick Clark were in charge and probably responsible for some of the more questionable choices regarding this three hour TV film. Still, Elvis was such a ratings smash that it was later released overseas as a feature film.

Kurt Russell worked with the real Elvis Presley in "It Happened at the World's Fair."

While there’s a lot to like about this Elvis, there are definitely shortcomings. The main issue is that this telling is overly discreet in delving into Presley’s personal issues.  As a high school grad the year Elvis died in ’77 at age 42, I recall how shocked the public was by Presley’s sudden death. Yes, there had been speculation about Elvis’ physical appearance the last several years of his life. Elizabeth Taylor Warner was going down the same path during this period, but the public just chalked it up to fried chicken and Jack Daniels. And while the press was far less hands-off toward public figures post-Watergate, we didn’t have social media and cell-phone cameras documenting their every move. So, it was a double whammy when Presley passed, that his huge prescription drug dependency was then revealed.

Kurt Russell as Las Vegas Elvis, where the film begins and ends.

There’s no mention of Presley’s drug problem in Elvis. Carpenter cleverly makes allusions to it by way of his mother Gladys. She suffered from depression, drank and took pills to calm her nerves. Gladys died at 46 when Elvis was just 23. Many, including myself, believe this was a huge blow that altered his life. Gladys died Aug. 14, 1958; Elvis died Aug. 16, 1977 at age 42.

Kurt Russell in a scene as Elvis Presley, with little Lisa Marie.

A criticism leveled at the 2022 Elvis is that it doesn’t deal with Presley’s later women. Neither does this version, which awkwardly ends with his 1970 live performing comeback. Also, I’m not sure why country/Elvis tribute performer Ronnie McDowell was chosen to sing for the Elvis soundtrack. Was this over possible legal issues with record companies or manager Colonel Tom Parker? McDowall does a fine job imitating him, but most of the time you’re aware it’s not Presley singing.

Kurt Russell as pre-stardom Elvis Presley, with lighter hair.

Of course, Kurt as Elvis IS the show. And I’d give Russell an A- as Elvis. Kurt Russell is one of the most engaging of actors, so he’s perfect for Presley, who was renowned for his warmth and charm. His first time up at bat in a big dramatic role, and Kurt pretty much hits it out of the park. In a tricky role that could come across like an impersonator, Russell brings his sincerity to the role of Elvis. Presley was open in his emotions as a family guy and entertainer, and Russell embraces this wholeheartedly. His own boyish humor matches Presley’s. Kurt also has the advantage of looking a good bit like the real Elvis, with the same basic build. When Kurt’s Elvis dyes his hair jet black, the effect is striking. And later, Russell fills out the required jumpsuit just fine.

Kurt Russell as Elvis in action. 

The film’s stylists do a great job in creating Kurt’s look as Presley, going from dirty blond rockabilly to Hollywood GI to ‘60s superstar. They only get ahead of themselves when they have Kurt looking like big hair and shades Elvis when he’s still in late ‘60s mode, when he and Priscilla are first married.

Kurt Russell as Elvis at Graceland.

On the minus side, Russell’s musical impersonation of Elvis does leave a bit to be desired: energetic but unmusical, obviously lip-synching, and sporting pretty fake guitar moves. Much of this is hidden with camera angles, so that helps. To everyone’s credit, this film was shot in 30 days, unlike the latest “Elvis” extravaganza. He also didn’t have the musical background of the current Elvis, Austin Butler, or the equal time to musically hone his Presley. Interestingly, the ’79 Elvis runs just 10 minutes longer than the 2022 Elvis! Overall, Kurt Russell gives one of the most believable Elvis Presley screen performances.

Bing Russell as Elvis' dad Vernon Presley was Kurt's real-life father.

Most of the casting is quite good. Veteran character actor Bing Russell is the long-suffering Vernon Presley, who happens to be Kurt’s dad! And he gives a solid performance. Shelley Winters is perfectly cast as Gladys Presley. Winters is more restrained here than other roles of this period. Her trademark doleful demeanor and woeful, whining delivery are perfect for Gladys, who suffered a lot in her short life and found Elvis’ cataclysmic fame hard to take. Shelley also brings working class warmth to her awe at Elvis’ lavish gifts and their new home at Graceland. Winters and Russell’s mother-son scenes together are a highlight.

Shelley Winters is well-cast as Elvis' mother, Gladys Presley. With Kurt Russell.

 What a shame that Pat Hingle has so few scenes as Colonel Tom Parker. Hingle, often cast as the crass villain, is used for that persona, apparently. I’m sure the producers knew if they went too far in depicting Parker, they’d have a law suit on their hands.

A missed opportunity: Pat Hingle as Colonel Tom Parker, who was reduced
to a cameo. This is probably because Elvis' infamous manager was still alive!

‘80s actor Robert Gray, who plays life-time Presley pal Red West, is very good here. Joe Mantegna has one of his first roles as road manager Joe Esposito. Ellen Travolta is the gal at Sun Records who believes in Elvis. Ed Begley, Jr. is musician D.J. Fontana. And Breaking Away’s Dennis Christopher has a cameo as actor Nick Adams.

Season Hubley as Priscilla Presley, who didn't get the same makeover as Kurt Russell
did portraying Elvis!

However, Season Hubley is hard to believe as Priscilla for the same reason the current actress, Olivia DeJonge, who plays her now: both are slim and angular, where as young Priscilla was curvy and soft, very Elizabeth Taylor-esque. And the stylists, who get Russell’s Elvis quite well, back off on the big hair and makeup that Priscilla wore at Presley’s request. So it’s hard to buy Hubley as Elvis’ baby doll bride. Plus, she seems uptight throughout, whereas the real Priscilla seemed more laid back in photos and videos. Also, both Hubley and Russell were 27 when they played the Presleys. The difference was Priscilla was just 14 when she met Elvis, who was then 24. So Hubley in a pinafore is a bit of an eye roll.

Hubley as the 14-year-old Priscilla Presley, pinafore and all.

Some of the scenes in Elvis drag on much longer than they need to. A perfect example is when Hubley’s Priscilla makes it plain to Russell’s Presley that she can live on her own, if need be. This is followed by a scene with her practicing karate by herself. This scene capper doesn’t build at all, it just goes on and on, and finally just goes to the next scene.

There’s probably never going to be the definitive Elvis Presley film. To tell the whole truth, it’s going to take a major documentary or mini-series about Elvis. In the meantime, the 2022 Elvis offers a visual wow about Presley the performer who got crushed under stardom, and the 1979 Elvis is more a straight up but muted look at the life of Elvis. Bottom line, both films boast two fine Elvis Presleys.

A great shot of Kurt Russell as early Elvis Presley.

Here’s a tribute I wrote about Elvis Presley and one of his best vehicles, Loving You: https://ricksrealreel.blogspot.com/2019/08/elvis-presley-fans-still-loving-you-1957.html

 

The three hour TV film was such a hit that it was released theatrically overseas.

 

 

Elvis Presley: Still ‘Loving You’ 1957

Elvis Presley was 22 when he made 'Loving You' in 1957. 20 years later, he was gone.

At age 42, Elvis Presley died Aug. 16, 1977. I remember that day vividly. I was almost 18, babysitting my cousins that day, and it was all over the news—back then, that meant radio and TV. When my aunt came home from work, she quietly and immediately started playing her Elvis albums. Back home, I remember watching the evening news, and how shocked we were, despite the fact that Elvis hadn’t looked well the last few years. Mom was also a huge fan, and she had a DA haircut in high school. When Mom watched the Aloha from Hawaii TV special, her ‘70s kids thought his rhinestone jumpsuits were totally uncool. We’d laugh and roll our eyes when the afternoon movies played his “drive-in” flicks.

Still, when our local station ran some of his early movies, we had to admit the songs from Jailhouse Rock and King Creole, that made Elvis the King of Rock, were still pretty rockin’. When Elvis died, CBS bought the broadcasting rights to 1957’s Loving You. With our bowls of popcorn, my mom, sister, and I watched our first Elvis movie in the evening! Ah, TV’s olden, golden days, with only CBS, ABC, NBC, and PBS to entertain us.

Nearly all of Elvis Presley's pre-Army pictures were his biggest hits.

Loving You is a musical fairy tale, though based on a magazine story, is a riff on Elvis Presley’s own rags to riches story. It may not be the most sophisticated movie, but it’s surprisingly sweet and good-natured, like the star himself. Loving You was Elvis Presley’s second movie, and though he has lots of rough edges, Elvis is filled with innocence, energy, and a joy of performing.

Lizabeth Scott's PR pro gives Elvis' Deke a makeover.

Elvis Presley is introduced as Deke Rivers, a delivery guy dropping off beer at a governor’s campaign rally that PR rep Glenda Markle (Lizabeth Scott) is spinning. The next thing you know, Deke/Elvis is up onstage! Deke is persuaded to just jump up onstage in his work denim and black boots, and wow everybody with the rockabilly “Got a Lot O’ Livin’ to Do.” Naturally, the young people go wild, while the older folks look bewildered, at best.

Elvis delivers more than beer when he's pulled onstage to sing "Let's Have a Party!"

Glenda sees dollar signs, and offers Deke a job with ‘Tex’ Warner (Wendell Corey) and his Rough Ridin’ Ramblers, but he’s reluctant to give up his steady job. Glenda gets him canned on the sly, so that he will show up the next morning to join them. At warp speed, Deke goes from “called up” on stage from the audience, to joining the group, to becoming the big draw. Ordinarily, this would be a farfetched, except Elvis’ own rise to fame was a rocket ride, too.

One fun moment in the montage of Deke hitting all the Texas cow towns is singing “Hot Dog” at a gig in Towanda, which always makes me think of Kathy Bates’ rallying cry in Fried Green Tomatoes. 

Elvis/Deke performing 'Hot Dog!'

Imagine 'Fried Green Tomatoes' Kathy Bates as Elvis' biggest fan!

I always thought it was hilarious that Elvis got dared to sing in many of his early movies. Loving You had the best version of Elvis “taking requests.” Presley’s Deke is sitting in a restaurant, trying to eat his BBQ ribs, when a local “fast girl” goes gaga over seeing heartthrob Rivers in the flesh. Her jealous boyfriend, Wayne, tries to goad Deke to sing. After some trash talk, Deke agrees to Wayne’s strong-arming. FYI, Kenneth Becker played a similar stooge in three other Elvis movies. In a memorable battle of wits, Wayne taunts, “Well, sing, Sideburns!” “Alright, I’ll sing,” Deke mumbles. He goes to the jukebox and picks a song. Luckily, it’s one Deke knows: “Mean Woman Blues.” Even luckier, The Jordanaires are singing back up! In a matter of seconds Deke/Elvis has the place hopping, with his crazy rockabilly singing and sexy moves, which includes not just hip swiveling, but holding his wrists limp (a move Cher later stole) and dragging a leg across the floor like it fell asleep. Kidding aside, Elvis ROCKS! Even in a lip-synched movie musical number, Presley’s energy is electric. After wowing the crowd, Deke asks Wayne what he can do, which leads to a surprisingly rough and tumble movie fight.

Once again, Elvis is goaded to sing!

Luckily, the jukebox has just the right number for Elvis to rock along with!

Deke is basically good-natured, unless someone pries into his background. When Tex teases the young singer that he’s getting so successful that he’ll need to change his name to Tab or Rock—as if Deke isn’t distinctive enough!—he gets irate. About halfway through Loving You, Deke reveals his origins to Glenda. As Jimmy Tompkins, he ran away from an orphanage the night it burned down. He hid in a cemetery, where Jimmy saw a tombstone with an inscription that inspired him, one that belonged to Deke Rivers. At age 11, Jimmy became “Deke Rivers.”

Glenda offers Deke an exclusive contract, which he gladly signs. Tex later finds out her cut is 50 percent, which raised my eyebrows, as it was rumored that Elvis’ infamous Colonel Parker got a similar exorbitant take. In fact, many of Glenda’s PR shenanigans are worthy of the wily Parker.

Elvis/Deke & Lizabeth Scott's Glenda form a mutual admiration society, to the chagrin of her ex, Tex (Wendell Corey)!

Amusingly, Markle refers to Deke’s unhinged fans as “lovely little creatures,” echoing Lady Gaga’s much later dubbing her fans “little monsters.” Glenda comment that it’s hard to believe the screaming girls will be grandmothers someday, made me think of my mom and aunt. One scene that gave me a smile was Elvis reading a Bible in his hotel room. Imagine a pop star today passing the time that way!

The movie mirrors and editorializes on Deke’s scandalous reputation to Elvis’ own image at the time. One town refuses to let Deke perform, which gives Glenda the opportunity for her biggest PR boost yet: a national hook up with locals and Deke’s crew to promote freedom of speech and defend him against the older generation. Deke bolts when he can’t handle all the attention and is further agitated to find out that Glenda and Tex were once married and divorced. Glenda tracks him down, comes clean, and convinces Deke to go back, for his own sake. Just in a nick of time, Deke River performs, is redeemed in the eyes of the public, and the back stage drama is swiftly resolved.

Stars of 'Loving You': Wendell Corey, Elvis Presley, Dolores Hart, and Lizabeth Scott.

While Loving You was Elvis’ second movie, this was essentially Lizabeth Scott’s final film, and Wendell Corey’s last starring role. Also, just five years after her film debut, Dolores Hart gave up movies, and began her journey as a nun. Ironically, Elvis Presley’s last movie was 1970’s Change of Habit, where his co-star is Mary Tyler Moore, as a nun!

Lizabeth Scott as Glenda Markle, in a rare departure from film noir.

Loving You was made at Paramount by producer Hal Wallis, who made stars of Lizabeth Scott and Wendell Corey, and would make a movie star out of Elvis. Scott plays Glenda Markle, a sharpie press agent who’s a little too good at her job. Scott looks timeless in her tailored, stylish Edith Head wardrobe. Also, Scott’s husky voice and sharp delivery makes the dialogue seem snappier than it really is. I noticed that, despite their totally different images, Lizabeth’s voice—not just the huskiness, but her enunciation—is almost identical to June Allyson’s. As for her performance, Scott finds a convincing balance in her character’s questionable ethics, but retaining some redeeming and empathetic qualities.

Wendell Corey's Tex finds out Scott's Glenda has already signed Deke/Elvis.
Can I tell you how much I love Elvis' shirt and jacket combo here?!

Wendell Corey, as Walter ‘Tex’ Warner, is the leader of the country band that Scott’s press agent is strenuously trying to spin to stardom. Corey has a way with a laconic, wry line. This was Scott’s and Corey’s third time together as a team, and they have a realistic rapport that grounds the movie. By this point in their careers, I’m sure Scott and Corey knew that 22-year-old Elvis was the show, but they have their moments and seem to be enjoying themselves.

Aside from Elvis co-star, Dolores Hart was a huge hit in 'Where The Boys Are!'

As kids, we loved the fact that Dolores Hart, a two-time Elvis co-star, later became a nun. My Mom joked that she had to, after working with Elvis! Seriously, Dolores is genuinely fresh-faced and sweet in her first film, looking a bit like a girl-next-door version of Grace Kelly.

Elvis Presley and Lizabeth Scott are all smiles here in 'Loving You.'

As for Elvis Presley, imagine with training and encouragement, what Elvis might have accomplished as an actor? As Deke, Elvis is wobbly in some of the more dramatic moments, but he’s not bad at all in the graveyard scene, confessing to Glenda his true identity. In the rest of Loving You, Elvis’ natural sweetness and sense of humor come through, and need I say that Presley had charisma to spare? If Presley had pushed back against being assigned all the later glorified “B” movies, Elvis could have been one of the great movie star personalities of the ‘60s, I think.

Elvis Presley looks and sounds great in his second film, here performing 'Teddy Bear.'

Elvis Presley’s numbers in Loving You are all simply staged, but all that’s needed is Elvis’ energy, enthusiasm, and magnificent voice. “Lonesome Cowboy” is the most dramatically put on, with Presley all duded up, singing in a solo spotlight. Two of Elvis’ classics are performed: “Teddy Bear” and “Loving You.” The latter is one of my favorite Elvis songs, not just for its simple but beautiful song, but Elvis’ sincere and subtle vocals. The rockabilly songs are a real blast: “Got a Lot O’ Livin’ To Do,” “Let’s Have a Party,” “Mean Woman Blues,” and “Hot Dog.” Presley’s playfulness and 22-year-old high energy is something to see!

Loving You is a legacy as to why fans will always remember Elvis.

Elvis Presley stops peddling a moment to share a hug with Lizabeth Scott.

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/