King Creole (1958)

(On Cable TV, September 2022) There are roughly two reasons to see King Creole, and both of them have to do with Elvis Presley. For one thing, it’s one of the most drama-heavy films in Presley’s filmography: Dating from a brief moment in his career when he was still aspiring to dramatic range, it has Presley playing a teenage New Orleans hoodlum who gets involved both with performing and organized crime. All shot in black-and-white by noted veteran director Michael Curtiz. In a sense, it’s the closest Presley ever got to playing in a film noir, or in a substantial teenage rebellion film—it may be a musical vehicle at times (with musical numbers integrated in the narrative), but it’s not as fluffy and meaningless as other films he’d later do. So that’s one reason. The second one is far funnier: if you ever wanted to see a movie scene in which Elvis Presley beats up Walter Matthau in a fist-fight, then this is the film for you. I know, I know—it sounds too good to be true, but the evidence is right there. The fight is not necessarily the reason why King Creole is often mentioned as Presley’s overall best movie, but it certainly drives the point that it remains a tougher, rougher role for him. There are plenty of dramatic complications, romantic choices to be made between a girl-next-door and a gangster moll, a future to be decided between singing and remaining a young thug. Pre-Army Presley deals well with the challenges, although he’s clearly still new at this acting business. Still, the result is honourable, and honourable would prove to be a high bar considering the Elvis films that would later follow. If you have one Elvis film to see, well, make it Viva Las Vegas. But if you’re looking for a second, King Creole is it.