Elvis Presley’s acting career, often overshadowed by his musical legacy, reached a significant milestone with the 1958 film King Creole. While many remember Elvis primarily as a singer, this film, his fourth with Paramount, showcased a depth of acting talent that surprised critics and fans alike. Despite its enduring status as one of his best films, King Creole also holds a certain melancholy for dedicated fans, representing a peak from which his acting aspirations arguably declined. This analysis delves into the film’s strengths, its critical reception, and the factors that contributed to its success, offering an objective evaluation of Elvis’s performance and the movie’s overall impact.
A Step Forward in Acting
Following a less-than-stellar debut in Love Me Tender, Elvis Presley’s acting evolved considerably by the time King Creole was released. Contemporary reviews from major publications like Variety, Billboard, and the New York Times highlighted his improved performance. Variety noted that Hal Wallis had “attempted to take the curse off Elvis Presley” by surrounding him with strong support, ultimately concluding that Presley proved to be a “better-than-fair actor”. Billboard praised his “improved histrionics” and ability to deliver “moving and tense moments”. Perhaps most famously, the New York Times declared, “Elvis Presley can act!”, expressing astonishment at his ability to move beyond his characteristic “Bourbon Street shoutin’ and wigglin’”.
Music in the Melodrama
The film’s musical numbers were also met with critical approval, though with some reservations about their frequency in a serious drama. Variety acknowledged that while Elvis performed his signature rock-and-roll numbers, he also offered “very pleasant, soft and melodious, singing”. Billboard agreed, noting “verve and welcome variations of style” in his vocal performances. However, the reviewer for the blog notes that even this fan admits that “he sings too much in a serious film like this one”. Specific scenes, like the “five-and-dime” distraction and the rapid transition from indifference to “rapture” during his first nightclub performance, are highlighted as instances where the music arguably interrupts the narrative flow.
Music’s Role in Pacing
While the integration of songs was sometimes debated, the music did serve to break up the film’s otherwise deliberate pacing. Without the musical interludes, King Creole presents a “serious dramatic story that moves steadily forward, but with very little action until the film’s final 20 minutes”. This suggests a careful balance was struck between Elvis’s established persona as a singer and the demands of a dramatic storyline.
Factors Contributing to Success
Fifty years after its release, King Creole remains a benchmark in Elvis Presley’s filmography. Its success can be attributed to several key factors beyond Presley’s own acting capabilities.
A Tailored Role
The character of Danny Fisher was reportedly near-perfect for Elvis at that stage of his career. Danny was a character in development, presenting a challenge that Elvis could naturally embody with his “smoldering look and attitude”. Crucially, Danny’s love life played a subordinate role, preventing the common trope of the protagonist being overwhelmed by romantic entanglements, which had hindered character development in some of his earlier films.
A Compelling Narrative
Adapted from a Harold Robbins novel, the script for King Creole offered twists and turns, leading to an unpredictable conclusion. Unlike the formulaic plots of many of Presley’s other movies, this narrative provided a more substantial dramatic framework.
A Talented Ensemble
King Creole also benefited immensely from a talented cast and crew. Director Michael Curtiz and cinematographer Russell Harlan were praised for their work with lighting and camera angles, creating a realistic visual style. The editing by Warren Low ensured a consistent pace, effectively blending location shots with studio setups. The supporting cast delivered strong performances that complemented Elvis’s own. The New York Times specifically lauded Walter Matthau as the gangster antagonist, Dean Jagger as the father, Jan Shepard, Paul Stewart, Dolores Hart, and Vic Morrow. Carolyn Jones, in particular, was singled out for her “knockout” performance as a “fallen thrush” whose “aborted romance” with Elvis provided the film’s most compelling scenes.
The Pinnacle of an Acting Career
Despite the film’s strengths, King Creole is often seen as the apex of Elvis Presley’s acting potential at the age of 23. While he demonstrated a natural ability to portray an “angry young man,” his transition to more mature, serious acting roles was reportedly hampered, either by his own choices or by Hollywood’s commercial interests. Once the industry identified a lucrative formula for Elvis films, his aspirations for a serious acting career likely took a backseat. Nevertheless, King Creole stands as a powerful reminder of what could have been, showcasing a compelling performance that continues to resonate with audiences and critics alike.
References
- Variety. (May 28, 1958).
- Bernstein, Bob. (May 26, 1958). Billboard.
- Thompson, Howard. (July 4, 1958). New York Times.
- Hanson, Alan. (March 2008). Elvis History Blog.
- Variety. (May 28, 1958).
- Thompson, Howard. (July 4, 1958). New York Times.