Elvis Presley

Ann-Margret

Cesare Danova

William Demarest

Nicky Blair

Robert Aiken

Don Anderson

Larry Barton

Toni Basil

Herman Boden

William Burnside

Carl Carlsson

Ruth Carlsson

Regina Carrol

Steve Carruthers

Jack Carter

Taggart Casey

George Cisar

Howard Curtis

George DeNormand

Dan Dowling

Roy Engel

Harry Fleer

Alan Fordney

Teri Garr

Barnaby Hale

Claude Hall

Alean 'Bambi' Hamilton

John Hart

James Hibbard

George Hoagland

George Holmes

Jimmie Horan

Birl Jonns

Pete Kellett

Larry Kent

Ingeborg Kjeldsen

George Klein

Jonathan Kramer

Joseph La Cava

Esther Ying Lee

Lance LeGault

Brad Logan

Victor Masi

Kent McCord

William Meader

Jim Michael

Rickey Murray

Robert Nash

Murray Pollack

Paul Power

Beverly Powers

Eddie Quillan

Mike Ragan

Fred Rapport

Francis Ravel

Anthony Redondo

Leoda Richards

Christopher Riordan

Clark Ross

Mark Russell

Reb Sawitz

Bernard Sell

Bert Stevens

Kay Sutton

Kay Tapscott

Ivan Triesault

George Washburn

Red West

Luree Wiese

Lori Williams

Robert B. Williams

George Sidney

Joseph F. Biroc

John McSweeney Jr.

George W. Davis

George Stoll

Sally Benson

Jack Cummings

Edward C. Carfagno

Lee Faulkner

Don Pike

Harvey Parry

Paul Baxley

Dale Van Sickel

Max Balchowsky

Carey Loftin

Henry Grace

George R. Nelson

William Tuttle

Franklin Milton

David Winters

Milton Feldman

John Truwe

Sydney Guilaroff

Music

Romance

Comedy

Viva Las Vegas

Jack Cummings Productions

Winters Hollywood Entertainment Holdings Corporation

Metro-Goldwyn-Mayer

United States of America

English

Viva the King and Annie.

Elvis Presley movies, by and large, aren't very good. Thirty one feature length pictures he made, of which arguably only half a dozen are jointly watchable and entertaining. But even the stinkers have fans, and not just fans of the King in general, also cinema fans happy to embrace the cheese and kind of just run with it. Yet to totally dismiss Presley's input into the world of cinema is doing a disservice to the small number of movies he made that actually hold up well under scrutiny. One such film is Viva Las Vegas. A film that is of course a frothy hip shaking colourful bonanza, but one that also shows that given a quality co-star to work off, Presley had it in him to move successfully away from the cash cow dirge that his manager Colonel Tom Parker was binding him to.

The plot sees Presley as race car driver "Lucky Jackson" who arrives in Vegas for the Grand Prix that is being held there. But his car is in need of engine repair and he just hasn't got the money to fix it. Taking a job as a waiter, things are further complicated when he meets sexy pool attendant/dance teacher Rusty Martin {Ann-Margret}. Not only is she spurning his advances, but he has a rival for Rusty's affection; Count Elmo Mancini (Cesare Danova), who is also a fellow race driver and is set on winning the Grand Prix himself.

That's really all there is to it, plot simplicity at its finest. Naturally the film is an excuse for Presley to chase the girl, sing some tunes and become a race car hero too. But Viva Las Vegas has a real fun quality that is so lacking in most of his other musicals, it's vibrant, savvy and, yes, sexy. Due in no small part to the chemistry between Presley and Margret. It's believed there was an affair between the two, but casting aside that fact, there was also to be a friendship between them both that lasted up until Presley's sad and untimely death. This film serves as a fitting testament to the birth of that friendship. Old professional George Sidney directs the piece unfussily, even if we perhaps get one too many camera shots of the lovely Miss Margret's derrière (seriously, see how many rear shots you can spot). While Joseph F. Biroc is on hand for cinematography duties as the Vegas piece is brought to life in Panavision & Metrocolor.

The film is also notable for two other points of worth, it's one of Elvis' highest grossing pictures and it contains arguably the best set of songs assembled for one of his film's. Along with the wonderful title song we also get the likes of "The Lady Loves Me", "Come On Everybody", "The Yellow Rose Of Texas", "The Eyes Of Texas Are Upon You", "I Need Somebody To Lean On", "Today, Tomorrow And Forever", "What'd I Say", "If You Think I Don't Need You" & Margret weighs in too with the delightful "Appreciation" & "My Rival". Oddly, and the subject of much criticism over the passing decades, RCA pretty much ignored the soundtrack for the film. Cutting some highly regarded tunes from the film and failing to truly market and utilise what was on offer. The fools.

With both stars looking and sounding terrific (Presley looks like he is cut from porcelain), and Margret matching the King for energy and ants in your pants dancing, Viva Las Vegas is a ball of fun. An ode to love, joy and music, so really there's no excuse to not let the Pelvis and the Derriere take you to foot tapping Nirvana. 7/10

Most Elvis movies were the product of a conveyor belt. Quickly written and produced and Elvis was not stretched as an actor or singer.

Viva Las Vegas does not stretch this formula but is fun, thanks in part due to the chemistry between Elvis and Ann Margret.

Elvis plays race car driver Lucky Jackson who is working as a waiter in Vegas so he can pay for a new engine.

He plans to take on aristocratic Count Mancini in the race and both are also competing for the affections of Rusty Martin (Ann Margret).

Jackson and Rusty take part in a talent contest as both aim for first prize. This is where Elvis sings Viva Las Vegas although his dancing moves look a bit weird.

Jackson's rivalry with Mancini is friendly which adds to the fun.

There is a thrilling racing sequence at the end with several competitors crashing or going off the road.

It is corny and undemanding movie.

Joe Dante on VIVA LAS VEGAS

Viva Las Vegas Official Trailer #1 - Elvis Presley Movie (1964) HD

Viva Las Vegas

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