“The boy was born with an unusual talent — he has the right to think for himself!”
A troubled teen (Elvis Presley) disappoints his father (Dean Jagger) by failing high school and choosing to work in a nightclub owned by a man (Paul Stewart) who his sister (Jan Shepard) falls for. But will Danny’s (Presley’s) new singing career and romance with a sweet clerk (Dolores Hart) be jeopardized by his association with a thug (Vic Morrow) working for a gangster (Walter Matthau), whose seductive moll (Carolyn Jones) makes continual moves on him?
- Aspiring Stars
- Carolyn Jones Films
- Elvis Presley Films
- Juvenile Delinquents
- Love Triangle
- Michael Curtiz Films
- Walter Matthau Films
Response to Peary’s Review:
Peary argues that this loose adaptation of Harold Robbins’ novel A Stone for Danny Fisher (1952) remains “Elvis Presley’s best film”, noting that “Presley gives a strong, tough performance and his singing is terrific”. Peary further points out that “he is ably supported by a fine cast” and “the direction by Michael Curtiz is very efficient”, “styled much like his Warner Bros. biopic-musicals.” Peary concludes his review by noting that the film is a “solid piece of entertainment and certainly one of the top juvenile delinquent pictures of the fifties”. Presley — in his final movie before entering military service — does indeed seem to be at the top of his game, singing numerous nifty, lively ditties (all well incorporated into the storyline), and toggling his bad-boy impulses between “pretty Dolores Hart” and “Carolyn Jones, Matthau’s unhappy mistress”. Jones makes a strong presence as well: she’s amply seductive, pulls no punches (except when forced to under duress), and is clearly a damaged soul simply hoping for relief, which leads to plenty of genuine tension about which girl — and path — Presley will choose. Russ Harlan’s cinematography is top-notch, and fine use is made of New Orleans locales.
Redeeming Qualities and Moments:
- Elvis Presley as Danny Fisher
- Carolyn Jones as Ronnie
- Several lively musical numbers
- Fine use of New Orleans locales
- Russ Harlan’s cinematography
Yes, once, for its historical significance.