King Creole (1958) User Reviews

King Creole (1958) ***

[JoeKarlosi · 8/10 · 27 January 2007]

Adapted from the book "A Stone for Danny Fisher", Elvis Presley plays a rebellious kid with a wimp of a father (Dean Jagger) who quits school and takes up singing at a night club in New Orleans, only to get mixed up with a group of thugs (headed by Vic Morrow) and their crime boss (Walter Matthau). Elvis considered this melodrama his best film and I happen to agree. It's nicely photographed in noirish black and white and directed by Michael Curtiz, featuring Elvis' most cultivated performance. It's a good story too, complimented by good actors in their roles. Walter Matthau is ideal as Maxie the heavy, who practically owns the whole town. Carolyn Jones is properly pitiful as his pathetic tramp, and Vic Morrow does well as the lead hoodlum who caters to Matthau. The songs Presley sings fit nicely into the action and are pleasant, though I don't believe any of them were signature biggies for Presley outside of, possibly, "Hard Headed Woman," and "King Creole" itself. It's a real shame that the best hit rocker, "Hard Headed Woman," is really given a raw deal as we only get to hear the end of it within the movie. The best music performance is Elvis' rendition of "Trouble" as he dominates the nightclub stage with authority and toughness while fearlessly singing it at Maxie. *** out of ****

Ties with 'Jailhouse Rock' as Elvis Presley's best film

[TheLittleSongbird · 8/10 · 25 February 2017]

Elvis Presley was a hugely influential performer with one of the most distinctive singing voices of anybody. He embarked on a film career consisting of 33 films from 1956 to 1969, films that did well at the box-office but mostly panned critically (especially his later films) and while he was a highly charismatic performer he was never considered a great actor.

Both 'Jailhouse Rock' and 'King Creole' in particular are proof that some of Elvis' early films are pretty good or more and that he could give a good performance when his material allowed it. Can understand totally the indifference at best towards his later films though. 'King Creole' is (along with 'Jailhouse Rock') often considered Elvis' best film, and even more widely his performance is considered his best, Elvis even called 'King Creole' his personal favourite and it is more than easy to see why on all counts.

Maybe 'King Creole' is a touch overlong, and the female characters are not as interestingly written as the male ones, somewhat lazy and it's the performances that stop them from being completely vapid. Otherwise there is very little to dislike. Have commented a couple of times on the writing and stories not being strong suits in Elvis' films, but 'King Creole' is a pleasant exception. The writing is surprisingly gritty and suspenseful, with few soap-operatic or corn elements, and the story is darker and meatier than the usual story for an Elvis film, thus one of the most absorbing.

As for Presley, his role here shows a dark and vulnerable side and he does it with intensity, charisma, swagger, charm and emotional honesty and no stiffness. Of his performances, which largely varied dependent on his material, it is agreed that this is his best. He has one of his best supporting casts, particularly a terrifyingly reptilian (while also remarkably complex for a mobster heavy) Walther Matthau, a touching Carolyn Jones and perfectly weasel-like Vic Morrow.

The songs are absolute knockouts, especially the title song, the sultry "Trouble" and the moving "As Long as I Have You". All performed by The King of Rock and Roll in his glorious and vocally distinctive prime. Michael Curtiz directs assuredly and with finesse, making one of the best-directed Elvis films, while 'King Creole's' film noir photography and atmosphere are strikingly done.

In conclusion, very good, tied for Elvis' best film and the best Elvis had to offer. 8/10 Bethany Cox

KING CREOLE (Michael Curtiz, 1958) ***

[Bunuel1976 · 7/10 · 21 August 2007]

If LOVING YOU (1957) seemed to me at times to play like a lighter version of A FACE IN THE CROWD (1957), this reminded me of another Elia Kazan masterpiece, ON THE WATERFRONT (1954) which is quite appropriate since this is one of Elvis Presley’s better and most popular vehicles and one of the few with genuinely talented Hollywood craftsmen behind them.

This was one of the earliest film adaptations of Harold Robbins novels – the most notable of which would prove to be THE CARPETBAGGERS (1964), THE ADVENTURERS (1970) and THE BETSY (1978; which I have on VHS but have yet to watch) – but, Hollywood being Hollywood, it had its Chicago setting relocated to New Orleans; the screenplay was co-scripted by Michael V. Gazzo who was then still fresh from the Broadway success of A HATFUL OF RAIN (later filmed by Fred Zinnemann in 1957) but is nowadays perhaps best-known for his Oscar-nominated performance in THE GODFATHER PART II (1974).

Elvis is backed by a rather stellar cast: once again, lovely Dolores Hart is featured as his love interest – when he’s not being ensnared by long-suffering gangster’s moll Carolyn Jones, which doesn’t sit at all well with vicious kingpin Walter Matthau (effectively cast as the sleek heavy of the piece); the older generation is represented by Dean Jagger, appearing as Elvis’ submissive pharmacist father and Paul Stewart playing the owner of the “King Creole” establishment (who eventually hitches up with Presley’s older sister) and the only one who’s unafraid to stand up to Matthau’s control of the territory and who signs up “busboy”/failed graduate Elvis when he’s revealed to be a talented singer. Other cast members making notable contributions are Vic Morrow as Matthau’s chief lackey/thug and an uncredited Gavin Gordon as Jagger’s bossy superior.

At almost two hours, the film is slightly overlong but the meatier-than-usual plot line, the tawdry atmosphere of the Deep South (vividly-captured through exemplary noir-ish lighting by Russell Harlan), the star’s own instinctive performance (clearly modeled after his Method-trained heroes Marlon Brando and James Dean), dazzling musical interludes (whose sheer power remains undimmed) and occasional bouts of violence keep one watching. It is said that KING CREOLE was also Elvis’ favorite among his own movies and, having now watched it myself, I can easily understand why.

"Probably one of Presley's finest movies!"

[jamesraeburn2003 · 7 January 2004]

Elvis Presley plays Danny Fisher, a misunderstood teenager who is forced to live in a neighbourhood frequented by hoodlums because his father's business went bankcrupt and lost their other house. Danny flunks out of high school and does several dead end jobs in order to make ends meet, but it is discovered that he has a talent for singing and he is hired by nightclub owner Charlie Le Grand. However, sadistic blackmailer and criminal Maxie Fields (Walter Matthau) also has corrupt designs on Danny's talent.

Probably one of Presley's finest movies with a fairly strong storyline and assured direction by Michael (Casablanca) Curtiz. The acting is good from Presley in one of his better roles and Matthau scores as the ruthless gang boss. The film is shot in gorgeous noir black & white and the memorable tunes include "King Creole", "Trouble" and "As Long As I Have You".

Probably The King's Best

[BJJManchester · 7/10 · 22 April 2012]

That Elvis Presley's film career gradually petered out after years of making trivial,hackneyed,fluffy and empty-headed movies is to be regretted,yet in several early films (JAILHOUSE ROCK,FLAMING STAR),he showed he could give a perfectly decent acting performance alongside good scripts,directors and actors.It is arguable that KING CREOLE was his best overall film,and perhaps his most effective big screen performance.

Disillusioned youth Danny Fisher (Presley) lives in New Orleans' French Quarter with his recently widowed father (Dean Jagger) and sister (Jan Shepard).His pharmacist father is finding it tough to cope without his wife and cannot find regular work,while Danny flunks his college studies to work in a nightclub owned by sleazy crook Maxie Fields (Walter Matthau), and begins to take romantic interest in a boozy if pitiable tramp,Ronnie,used by Fields as a mistress (Carolyn Jones).He toys with joining a gang of hoodlums led by Shark (Vic Morrow),and attracts the attentions of a sweet-natured shopgirl,Nellie (Dolores Hart).With his talent for singing,Danny decides not to work in Fields' venues,but of his rival Charlie LeGrand instead,the King Creole,where he is a great success.Fields resents Danny's behaviour and is determined fair ways or foul to force Danny to work for him,but Danny will make his own decisions who he works and falls in love with.

Elvis Presley had some good scripts offered in his earlier film career like the above fore-mentioned,and KING CREOLE was possibly the best of them.He not only had a good script and story but a top-class producer (Hal B.Wallis),legendary director (Michael Curtiz),fine actors (Matthau,Jones,Jagger,Morrow,Paul Stewart),accomplished cameraman (Russell Harlan),good production and musical numbers too.Presley is very good as the mean,moody but sympathetic youth veering from delinquency to hard work,recalling the ambiance of a younger Marlon Brando or James Dean.He is well supported by Ms Jones,making her somewhat trashy character into a three-dimensional,tragic near-heroine,Matthau as the crooked nightclub operator,Jagger as his vulnerable father,Morrow as a streetwise thug,and Hart,Shepard and Stewart doing efficiently in minor but interesting roles.Wallis and Curtiz of course worked together on one the all-time greats CASABLANCA (1942),and although KING CREOLE is nowhere in that class,a certain moody,smoky atmosphere like the Bogart/Bergman classic is successfully evoked by Harlan's shadowy,noir-like lighting and angles in scenes set in the French Quarter and clubs,and is immeasurably helped by some high quality songs such as the haunting opener 'Crawfish' (where Elvis sings in a duet),'Trouble','Dixieland Rock','Hard Headed Woman' and of course the peerless title track.Occasionally,there are one or two uncomfortable dramatic moments that Presley struggles with,and the film is somewhat overlong,but KING CREOLE is generally a fine crime drama with musical and noirish elements well handled by the master of versatility Curtiz.

Pre-1961,The King made a number of fine films like this,but under the influence of Colonel Tom Parker,he was forced into garishly coloured and obviously contrived entertainments which utilised the same banal plots,dull and repetitive scripts,uninspiring actors and ageing or mediocre directors which caused Presley to call a halt on his film career by the end of the 60's.Had he managed to work with the kind of script,story and crew he collaborated with on KING CREOLE,who knows how better his tarnished reputation on movies would've been;as it is,we can be grateful that KING CREOLE shows us how good Elvis was with such top technical and artistic backing,and how better he may have become as a screen actor.

Elvis without a cause

[kosmasp · 7/10 · 3 May 2021]

Obviously I am referring to Rebel without a cause and maybe not so obviously I am comparing the role of Elvis to what James Dean was able to make ... or rather how people perceived him generally speaking. I think it is undeniable that Elvis was great at singing (multiple occasions to prove this here too), but I don't think many had him high on an acting range. He sort of proves those wrong here.

And while the story and the plot are strong enough to carry on and be quite powerful today too, the fighting/stunts have not aged as well mostly. Then there are some character traits that some may not feel most comfortable with ... but what rebel really gave anything what people thought about him? Love/relationships included ... a very fine Walter Matthau helps elevate the movie too. A movie that I was not too aware of, but that generally is suspensful enough to keep aynone on their toes ... and may be just the right movie to start off anyone unaware of Elvis (as an actor)! Old school style.

Elvis and his roots

[dimplet · 7/10 · 16 July 2013]

Sure, Elvis is the star, but the real force making it a great movie is Michael Curtiz. King Creole has a great cast, great acting, a solid script and many interesting musical numbers, not to mention excellent cinematography. Without all this, it might have just been another Elvis vehicle.

Look at the list of Curtiz' movies -- Yankee Doodle Dandee, Casablanca, Mission to Moscow, to name three in a row -- can you find a more versatile director? I don't think there is any "Curtiz style;" each is unique, in each he fits the movie to the material. His work begins in the silent era, 1912, yet King Creole epitomizes the 1950s. And Curtiz, 72, knows how to showcase the talent and energy of Elvis, presenting him as an artist.

Yes, Elvis can act. There isn't a wrong note anywhere, and it is a relatively complex role. I suppose the next question the studios would have asked is whether he had the depth to play a wide range of characters. Could Elvis transform himself into someone else? That is great acting. I'm thinking of someone like Paul Newman -- or Walter Matthau. Elvis never got a chance to find out. Perhaps the studios looked at King Creole and decided not to push their luck and stick to the Elvis persona?

To do good acting you need a good cast to react off of, and he had it here. We see some real chemistry and sparks flying as they interact with Elvis. Here is Matthau at his finest. This is no mobster don caricature; we see cruelty and cunning, but also rays of kindness and genuine appreciation for Elvis' talent. And who would guess that Ronnie -- Carolyn Jones -- was also Morticia in the Addams Family or Julie Rawlings in How the West was Won?

I am not a big Elvis fan, though I do respect the emotional energy of his style. Those who are not familiar with Elvis should watch King Creole to understand why he was so influential.

At first I was disappointed that there wasn't a broader range of musical styles displayed, given the title "King Creole" and the fact that Elvis's musical roots are in the black jazz and blues of Memphis, Tennessee. It appeared to be all all high octane Elvis. But then I looked closer and realized that Elvis' musical roots are, indeed, on display in the movie. Even in the slower numbers, the Elvis intensity just made them seem high octane.

The only Creole influence is seen in the opening number of street vendors calling out their wares, Crawfish, similar to the Street Cries number in Gershwin's Porgy and Bess. But it does set up the musical environment.

The first performance number, Trouble, shows Elvis singing with a Dixieland group, but it is actually a solid blues number in a style similar to T-Bone Walker (Stormy Monday). Now this is Elvis' roots.

The closest to a slow love ballad is Lover Doll in the Five and Dime, accompanied only by a bass.

The closest to jazz is "New Orleans," which starts slow like W.C. Handy, and shows a connection between Elvis' style and jazz, including a banjo and some Dixieland riffs.

In the number "King Creole," the only connection to the movie's title aside from the club's name, we see typical Elvis energy and tempo, but also some of the blues and jazz roots we saw more clearly in earlier numbers.

Later, we have a somewhat gratuitous Dixieland Rock, which sounds a lot like Jailhouse Rock, and is closer to pure Elvis than most numbers here. The distinctive double clapping by Elvis that sets up the number, echoed by the band, corresponds to the sound of a car driving over a loose manhole cover. If you'd ever lived with one outside your window, you would recognize it.

Don't Ask Me Why is a slow number in the style of many Fifties pop songs, and a takeoff of O Sole Mio, an old Italian song that's seen many permutations, including Elvis' later It's Now or Never.

What stands out, at least to the modern listener, is the high energy, fast beat Elvis style that became so famous. But actually Curtiz does a good job of mixing styles and tempos, and of providing a sort of chronology of musical influences on Elvis in the various numbers. The range could have been a bit broader, but this was 1958 and the movie was helping to establish Elvis' musical identity.

The influence of black jazz and blues is there to the observant viewer, but not fully highlighted. This was the Fifties, and displaying too much black influence would have been risky. What we do see was a actually a bold move (though setting it in New Orleans makes it more acceptable), and probably enhanced Elvis' edgy, bad boy image with the teenagers and James Dean crowd. (Now, if they had made Elvis' role truly Creole, part black and part French, that would have been ballsy for the time.)

I suppose you could say the best Elvis movie is the one that was never made, the mature actor singing in a broad range of styles: rock, jazz, blues, creole and ballads. It's too bad he didn't return to his musical roots in later years, as well as acting. But King Creole comes surprisingly close to providing Elvis' musical testament.

In the end, Curtiz delivers not only fine acting and a fine script, but also some fine music in an assortment of Elvis' style. Once again, Curtiz fitted the movie to the material.

Never be the same again...

[CosmicDwellings · 10/10 · 13 January 2001]

To a lot of critics and non-fans of the Master of Song or King of Rock 'n' Roll, to give him his correct title, Elvis Presley was merely a wooden celluloid freak who just sang to children, animals, and everybody's Grandmother on a movie set. That might have been the case during the mid-'60's when Elvis didn't know how to perform on a movie set any other way than to follow the less than mediocre script which was getting more tedious and morose as the previous one. This trend was set by the formula that started with "G.I. Blues" and finally reaffirmed with the classic, "Blue Hawaii", from then on in with the exception of "Flaming Star", it was a pretty poor rag-bag bunch. However, "King Creole" was Elvis' jewel in the crown. The film is a testimony to a time when rebellion amongst teenage life was coming to the fore and the struggle for a young person's individuality in society was a constant threat to many parents of the 1950's genre. If Elvis was to be a big movie star this is the one that certainly went a step further than "Jailhouse Rock" to ascertain that position. Elvis' acting improved over the three film period of 1956-57, and in "King Creole" you can see the transition. He brings to the screen all the grittiness, excitement, tension that his character, Danny Fisher, is all about. This great quality movie really pays justice to a classic piece of film making by Director Michael Curtiz and a great supporting cast that Elvis gained so much from performing with in this story. Another transition also happens in this movie and that is one of the music. Apparently, Elvis never really liked Jazz music, but he certainly forgot all about that when he cut the soundtrack to this movie. I'm sure that Jazz music featured slightly higher on his list after he realised what he could do in the studio with this kind of music and blending it with his own rock rythmns and blues orientations. To me, this is one of the greatest films ever made, by one of the most underrated actors of our time. To the critics and non-fans alike: Watch it and Weep!

Good acting by Elvis in a rather bland movie.

[BigWhiskers · 6/10 · 17 August 2009]

First of all this movie is definitely different than other Elvis movies I've watched.The majority of Elvis' other movies all seemed to focus on comedy with him being a playboy with swooning girls in bikini's and really corny dialog and plots. This movie takes on a more serious and dark tone. I've read a lot of other user reviews and critic reviews. Most of them praising Elvis' acting in this movie and I agree. Elvis is good in this movie, finally getting to stretch his acting chops in a more serious role. A shame that Elvis's agent was a total controlling idiot otherwise we may have seen some gold statues on Elvis' shelf. Elvis does sing and the songs are very nice but what's good is that the songs don't overshadow his acting.Even Walter Matthau praised his acting and was upset that he didn't get an Oscar nomination.

Now on to the movie itself , while Elvis shines , the movie does not. It is very slow paced and the plot itself rather unbelievable. Elvis plays a young man who is trying to find his place in life after getting kicked out of high school for fighting so he wont graduate. He has a destitute father and has to work to support him. He is a busboy in a club owned by a mobster Maxie Fields(Walter Matthau) - he sings one night and the owner of the King Creole-Charlie LeGrand(Paul Stewart) likes his singing so he hires him to sing.Of course he's a smash and now Maxie wants him to come back and sing at his club ,pretty much a sing for me or else thing. Then subplots of Maxies floozy Ronnie played by Adams Familys Morticia(Carolyn Jones)and a waitress named Nellie(Dolores Hart) ensue along with some street tough gang fights. It seems rather unbelievable that a wealthy mobster who owns half the city of New Orleans would go to such great lengths over a nightclub singer. That's where it loses me , the mob after a guy just to get him to sing in their nightclub? I think the movie is more about the mob leader Maxie's jealousy than actually giving a hoot about Elvis working in his club. The gist I see is Maxie jealous of Elvis sexually -esp since he knows Ronnie is obviously attracted to Elvis so he wants to keep Elvis in his sights and also to let others know that he can have/buy anyone he wants. Also Ronnie used to work for Charlie until Maxie bought her out.Notice how he treats her, like crap. I just got bored once it turned into an "If i cant have you then no one will" type movie. The ending of the movie is rather abrupt and wrapped up with Elvis singing a ballad. It could have been better with a more serious writer and script. 6 out of 10.

My favourite Presly film

[ODDBear · 9/10 · 23 April 2004]

King Creole is not only a great Elvis Presly movie, it's a great movie period. Elvis is simply terrific as hard-edged Danny Fisher, a street wise punk who hits it big time as a singer in a flashy New Orléans club, run by sleazy Matthau. The overall look of the film is excellent, it's fast paced and gritty, moody and athmospheric, and directed by the same man who brought us Casablanca. The dialouge is good and seems authentic enough, Presley is excellent and Matthau is great (as always). Plus, the songs are good. 9 out of 10.

not bad!

[ksf-2 · 7/10 · 27 September 2020]

Elvis. AND Walter Matthau. love them! Elvis is young punk Danny, who can't seem to get ahead. and Carolyn Jones is the damsel in distress... friend of Maxie,the rough nightclub owner (Matthau) in new orleans. Jones was oscar nominated for Bachelor Party, the 1957 version! Dolores Hart is Nellie, Danny's OTHER love interest. Hart made TWO films with elvis, and became a nun soon after. interesting. in the story, Nellie talks Danny into straightening up, and doesn't let him get away with anything. but when the family gets in trouble, it takes Maxie to help them out. and now Danny owes Maxie SO much money. Directed by Michael Curtiz, who had done Casablanca, Mildred Pierce, and so many others. Carolyn Jones died young at 53, from cancer. Probably best known for Addams Family, but was also in Seven Year Itch. the year after making Creole, Matthau directed his one and only directing job, Gangster Story. clearly, he enjoyed acting more than directing! Creole is really good.

GREAT!

[Jc-101 · 10/10 · 10 August 1999]

Whether you are an Elvis fan or not, this is just a great movie. It shows that Elvis had that natural acting ability which unfortunately didn't matter to the money hungry corporate jerks. After this movie I think is when all his movies were just made to make money, which they ALL did. Elvis unfortunately became a joke in comparison to other actors all because of the terrible scripts. There was one movie (can't remember which one, there were over 30) in which he reportedly told the director after filming was done "Hey nice movie, maybe I'll read the script sometime" . In other words, Elvis hated the fact that he wasn't getting good scripts. He was the first real money making star which is what ultimately lead to the atrocious film roles. Well except for maybe 4 or 5 of his films. Anyway if you never saw Elvis in a movie before (which I find hard to believe with all the Elvis marathons on tv), see this one!

Elvis' Best Dramatic Acting & Most Critically-Acclaimed Film.

[Real_Review · 7/10 · 4 May 2023]

Elvis as an 18 year old hustler and singer, dropping out of school and getting involved with organised crime in the French Quarter. This film is dark and gritty, and Elvis plays the lead role well. The songs are mostly appropriate and the supporting cast is impressive. The two co-leading ladies were beautiful and famous actresses. The location shooting in New Orleans gives the film historic and cultural relevance, as well. There is a lot to like in this film.

If this had been Elvis Presley's only film, then history would have a very different opinion of his acting abilities and potential. And, if Elvis's other 30 motion pictures would have had as high quality of scripts, songs, and casts as 'King Creole' (1958), then the histories of musicals and of 1960's film would have been very different.

You don't need to be an Elvis fan to enjoy this movie - fans of 'film noir' will appreciate the tone and the directing, and fans of classic film and television will love the supporting cast. Regardless of your opinion of old movies or Elvis Presley's music, quality is quality, and this is a really good film.

RealReview Posting Scoring Criteria:

Acting: 1/1;

Casting: 1/1;

Directing: 1/1;

Story: 1/1;

Writing/Screenplay: 1/1;

Total Base Score = 5

Modifiers (+ or -):

Authentic Location Shooting: +1 ( 1950's New Orleans is a rare site in film.);

Standout Performances: +1 ( Elvis Presley . Not only is this his best work, but it is very good acting. Although the supporting cast are Hollywood stars, Elvis carries this film.);

Music Score/Soundtrack: +0.5 (They should have cut the school anthem, and they should have replaced the song from the shoplifting scene with one from later in the film. However, because the script was re-written for a singer, the majority of the soundtrack adds to the film. Also, it's good music.);

Ensemble Cast: +0.5 (This is an impressive cast - even without Elvis.);

Editing-Too Long: -1 (Cutting those 2 aforementioned songs (and the accompanying scene for the later) would have saved 8-9 minutes. Trimming a little here and a little there would have helped improve the pacing.);

Total RealReview Rating: 7.

Elvis living on Bourbon St. in New Orleans

[Wuchakk · 5/10 · 7 November 2020]

In New Orleans, Danny Fisher (Presley) fails to graduate high school for the second time and so uses his singing talents at nightclubs to provide for his destitute father and sister. Walter Matthau plays a shady nightclub baron while Carolyn Jones plays his floozy.

"King Creole" (1958) mixes the Elvis formula with B&W film noir. Despite the name, don't expect any bayous; the story takes place entirely in and around the Bourbon St. district of New Orleans.

Touted as one of the best Presley flicks because it's a relatively dark & serious Big Easy drama meshed with a few of his musical performances, it's not as compelling or believable as Elvis' better dramas, like "Kid Galahad" (1962) or "Roustabout" (1964) nor as entertaining as his more farcical movies, like "Viva Las Vegas" (1964).

The story, which came from a book by Harold Robbins, feels contrived. You have rival club owners (one good/one bad, of course) with a "sing for me or else" element and an eye-rolling subplot involving Danny's father, a pharmacy, back alley toughs and black mail. The B&W photography doesn't help. Hottie Liliane Montevecchi as the banana showgirl, Forty Nina, is the best part.

How anyone thinks this is the best Elvis flick is puzzling.

The film is overlong at 1 hour, 56 minutes; it was shot in New Orleans and Paramount Studios, California.

GRADE: C

Elvis in One of his Rare Good Films

[eibon04 · 20 November 2001]

An unusual Elvis Presley vehical which actually gives him the opportunity to act. Elvis was a talented actor who was put in crap for most of his career. The Hollywood system always put him in films where he sings without doing much else. Its only when he worked with talented directors such as Michael Curtiz and Don Siegal that his abilities as an actor were fully used. King Creole(1958) is such a film where he is given the chance to act and he passes with flying colors. King Creole(1958) and the western, Charro(1968) are my two favorite Elvis Presley films because of their dark tone and the excellent acting performances by Elvis. One of the better directed Elvis films by veteran filmmaker and Casablanca(1942) director, Michael Curtiz. One of the people who wrote the story was Michael V. Gazzo, who would later play an important role in The Godfather Part 2(1974). Walter Matthaw is terrific in one of his pre Odd Couple and comedic roles. A musical Noir done during the final year of the genre before becoming extinct.

Clash of the Clubbers...

[Xstal · 7/10 · 15 January 2024]

It's fair to say you've got a temper and it shows, but this time you're in a film that has some go, a great director takes your talent, a performance with great extent, after the reel flickers by, engagement grows. As Ronnie grabs your eye and you then flunk, to be expected of a 1950s punk, joining a gang you rob a store, this life is not within your core, then you land a job to realise your funk. But there's demand for all the wares that you present, and Maxie Fields' the kind of guy that holds resent, there are tricks and treachery, lives are lost, there's not much glee, in the end there's satisfaction and content.

Not the worst Elvis film you'll encounter.

"Cut my hands off and call me Shorty - Elvis Presley can act..."

[tilloscfc · 6/10 · 18 July 2015]

Widely regarded as Elvis Presley's best film, 'King Creole' was originally called 'A Stone for Danny Fisher'(based on a novel) with James Dean in the lead role, but the project was shelved in 1955 following Dean's tragic death. This film was what could happen when you gave Presley a serious role with top quality actors around him such as Dean Jagger and Walter Matthau. Presley plays Danny Fisher, a 19 year old in a struggling family of three (he, his sister and their bumbling, struggling father Dean Jagger - who played Mr Land in Game of Death 20 years later.) Danny becomes a nightclub singer at New Orleans dive 'The King Creole' and turns the joint into the hottest club on Bourban Street, much to the annoyance of rival nightclub owner and local mobster Maxi Fields (Matthau) who attempts several underhand tactics to get Danny to join HIS Club as the singer, including having Danny's father beaten up and hospitilized so that he can take care of the medical fees, get Danny onside while also have something over his head - for it was Danny's gang who performed the mugging. In the midst of it all, Danny is torn between two lovers (a typical theme for later Presley movies!) including young Delores Hart (his 'Loving You' co-star.) and Carolyn Jones - Maxi's unhappy girlfriend. The result of it all is a bloodied combat as Danny tries to battle his way -and Carolyn Jones way - out of the mob gang and the lifestyle, so that in the end he can return to the King Creole. Again this is not MY personal favourite Elvis movie, same as 'Loving You', despite their high regard...Presley won rave reviews for his performance and this was the kind of role he craved but would rarely get upon his return from the Army in 1960.

Michael Curtiz directed, but it's no "Casablanca" for Elvis...

[moonspinner55 · 6/10 · 15 July 2007]

Elvis Presley plays a failed high schooler and delinquent in New Orleans who goes from busboy to singer in a nightclub run by gangster Walter Matthau. Somewhat disappointing star-vehicle for E.P., adapted by Herbert Baker and Michael Vincente Gazzo from Harold Robbins' book "A Stone for Danny Fisher". The writers' first task was to transplant the action from Chicago to the Big Easy--an inspired move; the location shots are atmospheric and beautifully shot by Russell Harlan, accompanied by a fine music score from Walter Scharf. Elvis gives a solid performance and sings some great tunes, though the script weakens as the picture progresses. Baker and Gazzo try packing too much melodramatic plot into their third act, and the movie pretty much topples over from the weight. The men in the supporting cast (Matthau, Dean Jagger, Paul Stewart and Vic Morrow) tend to outshine the women (Carolyn Jones, doing her best with a hopeless tramp-with-a-heart-of-gold number, and Dolores Hart, a colorless good-girl who tells a hesitant Elvis, "I'll wait for you."). The finale is a real muck-up, but at least director Michael Curtiz gets the film off to a rousing start. **1/2 from ****

More satisfying than a big bowl of gumbo.

[BA_Harrison · 9/10 · 15 July 2019]

I can't believe that I have over 4,500 reviews on IMDb thus far and this is my first for an Elvis film. I watched lots of his films as a kid, when they would air them on TV during the school holidays, but haven't seen any since I started reviewing. I remembered King Creole as being one of the best and figured it would be a good place to start over...

Directed by seasoned pro Michael Curtiz (Casablanca and White Christmas), King Creole is a gritty affair, unlike Elvis's later, candy-coloured, family-friendly cinematic offerings. Combining hard-edged drama, violence and tragedy with sexually charged musical numbers (just watch those women swoon), and with Presley exuding rebelliousness with every shake of his hip, King Creole is a masterpiece of the misunderstood youth genre, its star giving a perfectly nuanced, iconic performance to rival James Dean at his best.

When Danny Fisher (Presley) fails to graduate from high-school for a second time, he graduates from the school of hard knocks instead, at first falling in with a gang of youths led by hoodlum Shark (Vic Morrow), but later becoming mixed up with gangster Maxie Fields (Walter Matthau), who wants him to quit his singing job at Charlie LeGrand's bar King Creole to come and work for him - and Maxie doesn't take no for an answer. Pushed to the limits over an incident involving his father, Danny loses his cool and gives Maxie a well-earned pasting, which leads to him being hunted by Maxie's men all over town; sexy floozy Ronnie (Carolyn Jones) tries to help Danny, but puts herself in the firing line in doing so.

It's not often that not one of a cast puts a foot wrong, but everyone here is excellent, with particularly memorable turns from Morrow and Matthau, who are both delightfully loathesome, and from Jones (better known as TV's Morticia Adams) as the tart with a heart. But this is Elvis's show, and the king has never been better: tough, sensitive, hot-headed, well-meaning, reckless, and, of course, cooler than Fonzie in a deep freeze, no more so than when he is belting out the film's numerous songs, all of which are great.

9/10. He's not called 'the king' for nothing.

One of the King's best and most solid films

[funkyfry · 7/10 · 15 February 2003]

One of "The King"'s more solid efforts, thanks to a fairly good story and the steady direction of pro Curtiz. Elvis does the best acting of his career here as misunderstood youth Danny Fisher -- too bad they had to make him keep singing all the time, breaking up the flow of the story irreparably. To the movie's credit, the music of New Orleans is integrated into the film's fabric from its opening moments -- I just think maybe they should've had Elvis sing 2 or 3 songs (in "Flaming Star", Elvis sings one song and does not break up the atmosphere of the period film, which is quite effective). The 5 or 6 songs he does sing end up inevitably slowing down the story too much. Matthau is suprisingly convincing as a lethal mob boss determined to control Fisher's budding career (shades of the Colonel?), and Jones is fantastic as the femme fatale with a heart of gold who Elvis falls for. Morrow is sharp as Matthau's crony who will do anything to please his boss (though his performances in these stock types were already growing a bit stale by 1958), and Jagger is perfect as the ineffectual father -- a part he would undoubtedly have played in the film if this had been made, as planned, with James Dean, and his chemistry with Dean would have been even more impressive than it is here with Elvis. Every character has at least 3 sides -- one viscious, one scared, and the third hopeful or ambitious.

Elvis noir par excellence!

Without question Elvis' best

[jjnxn-1 · 9/10 · 2 July 2013]

Made early in his career when he was still bursting with promise and not strait-jacketed by an image this is the best film Elvis ever made and probably his best performance. Based on one of Harold Robbins few good novels the film gives him a real character to play and shows that had he been allowed he could have progressed to becoming a fine actor. I'm not trying to knock him, in most of his films he's an enjoyable presence but except for Wild in the Country and this none of them required much in the way of stretching his ability.

While he is memorable in the lead there are several other factors that help make this such a strong picture. Chief among them is the presence of the master of any genre Curtiz in the director's chair lending his firm hand to keep the film focused and compelling. Something else that adds to this is the cast. Elvis usually was supported by one sometimes two strong veteran actors or actresses but here the film is loaded to the rafters with talent. Walter Matthau, Dean Jagger, Paul Stewart, Vic Morrow and Dolores Hart all contribute strongly to the texture of the film with best in show honors going to Carolyn Jones as a fragile, damaged woman with a good heart. It's a standard role but she makes something quite lovely out of it.

The best?

[lookatwhatyoudid · 7/10 · 4 February 2005]

This just has to be the best 'Elvis-movie'. Elvis himself thought that too. The songs are good, Elvis plays better than he ever will, (and he looks so good!) Everything is just so good. I like the part (does'nt everybody) were he sings "Trouble". Even th ow the background sound is quite annoying. I can just watch it over and over.

Ronnie: "Maybe we'll meet some place by accident" Danny: "Will you tell me where you think the accident will take place and I'll make sure I'm there"

Elvis also got to shake hands with one of his biggest idols, Marlon Brando.

"And He Goes By The Name of King Creole"

[bkoganbing · 8/10 · 6 December 2006]

By this time Elvis Presley was a big movie box office name due in no small measure to the astute management of Colonel Tom Parker. I have no doubt that the Colonel got him Michael Curtiz as a director and a top flight supporting cast consisting of Oscar winners like Dean Jagger as the King's father and Walter Matthau as the villain of the piece. And other such outstanding players as Carolyn Jones, Vic Morrow, Paul Stewart, and Dolores Hart.

Presley steps into James Dean territory here, had he lived I'm sure Dean would have played the part of Danny Fisher in what would have been a non-musical story or one where Dean's singing would have been dubbed. Danny Fisher is just the kind of troubled youth searching for himself that Dean excelled with in East of Eden and Rebel Without a Cause. In fact in the relationship between Presley and Jagger you can see a lot of the dynamics of Dean's and Jim Backus in Rebel Without a Cause.

Elvis has had to go to work because his father has been unable to hold down a job ever since the death of his wife. So's Elvis's sister, Jan Shepard, also had to work. He gets a break in Walter Matthau's club with an impromptu audition, but it's rival owner Paul Stewart who hires Elvis. That sets the stage for a lot of the action to come.

For those who are used to seeing Walter Matthau as the lovable grouch starting from The Odd Couple it would surprise many to learn most of his early roles were bad guys. He's an exceptionally nasty bad guy in King Creole.

The title song became one of Elvis's early best sellers and it is also the name of the club Matthau owns in the New Orleans French Quarter. Presley has some other good numbers in this film as well.

Some other reviewers have mentioned that Elvis should have done more dramatic stuff like King Creole. Maybe he should have, who knows. But I think the point should be made is that first and foremost Elvis was a singing icon, not an acting one. As were the idols of former generations Bing Crosby and Frank Sinatra. I don't think Elvis was willing to push himself as player in the same way they were. Neither Crosby or Sinatra also had a manager with as tight a control over them creatively as Colonel Tom Parker. Both Crosby and Sinatra got Oscars, but it was for parts that they knew they could handle and went after, especially Sinatra. Maybe Elvis in the words of another icon, knew his limitations or the Colonel did.

King Creole also was one of the first of Harold Robbins's novels to be made into a film. Yet it's never thought of as a Robbins film like The Carpetbaggers or The Betsy. It's an Elvis film, first and foremost.

And that's good enough for fans of the King and others.

Looks great

[valleyjohn · 7/10 · 26 October 2020]

When I mentioned to someone that I was planning to watch all the Elvis Presley films I got a really funny look . His reputation as an actor was not the best but I'm four films in and I'm actually pleasantly surprised.

Elvis plays rebellious young man takes a job as a nightclub singer to make ends meet, attracting the attention of a local crime boss.

It's odd to see Malter Matthau play a bad guy. I half expected him to come out with a comic routine but no . He really is a nasty piece of work. It's strange for a film that has quite a serious underbelly to be interspersed with Elvis songs but I kind of like it.

This is quite atmospheric thanks to the decision to film it in black and white . From the violence portrayed to the musical set pieces. Elvis is good until he tries to put on the tears and then he looks quite amateurish. The ending is surprisingly grim and a little unexpected but I'm ok with that.

Next film on the list is G.I Blues .

Elvis is dead; you're not getting a lunch invitation for your 9 out of 10.

[Sundiver72 · 4/10 · 28 November 2021]

I really can't understand the high reviews for this film; the characters were all one dimensional, and I say one dimensional because I can't say zero dimensional. Cartoon caricature personas. C Montgomery Burns has more character arc than Maxie, and Danny is literally not possible as a person. Dropout/failure due to a violent nature, yet he just wants to make things good for his Dad, talks to women in a way only a script writer could imagine would come across as intriguing, and of course goes from threatening the all powerful killer mob boss to being sought after by everyone because he's so talented yet sensitive? Good grief. Then there's Nellie, who watches him help his buddies rob her place of employment blind without saying a word, only to latch onto him like a rusty old bear trap. The only thing missing that would have put this in the Rocky Horror zone would have been her asking "Danny, am I coming on too strong?" Lol! Just don't invite her to your hotel room.. Then there's Jailhouse...oops excuse me DIXIELAND Rock which is literally Jailhouse Rock with slightly different lyrics and phrasing.. This is an Elvis movie, not Legends of the Fall... It's like all of them: Elvis HATED doing them, and he hated the assembly line music written solely as a vehicle for having his character sing. Having said all that, I love being able to see a young Elvis in his prime. It doesn't need to be great, it just needs to be Elvis. But let's not let the kindness of time and sentimentality cause us to lose our minds and call this a 8 or 9 out of 10 movie.