Since its inception, the film career Elvis Aaron Presley was marked by what others (his manager, the Colonel Tom ParkerProducers, her record, RCA Victor) saw fit to cultivate his image and personality, but also to smooth these edges that could possible get away from household consumption, gradually domesticated animal magnetism and pigeonholing his music in exotic, full of songs and cute girls, but less and less interesting. For this, the veteran producer Hal B. Wallis, Who had been head of production at Warner before independence, had recourse to some efficient directors of the golden age of Hollywood classic and Norman Taurog (Who remains the youngest director to win an Oscar in 1931 for “Skippy” as well as popular titles sign at the time as “Boys Town” or “The Adventures of Tom Sawyer”) Richard Thorpe (Whose filmography includes many classics of adventure films like “Tarzan’s New York”, “Ivanhoe” or “The Prisoner of Zenda”) and the Hungarian Mihály Kertész, who would go down in film history as Michael Curtiz.
In early 1958, Curtiz trots from study to study, fewer and fewer job offers after his headlong march Warner, where he had worked continuously for four decades and had signed timeless classics as “Casablanca”, “Captain Blood “or” The Adventures of Robin Hood. ” And Elvis is preparing to join the U.S. Army after being called up. Wallis, who had worked with at Warner Curtiz and admired him as a director, despite some disagreements due to the proverbial tendency to delay the filming Curtiz with attention to detail, he had sent the novel Harold Robbins “A Stone for Danny Fisher” and in 1955, but had found it difficult to concoct a screenplay inluyese typical aspects of the work of Robbins (violence, sex and melodrama) without incurring the wrath of censors, and the lack of adequate interpreter for his protagonist. Wallis toyed with several names over the years (Ben Gazzara, John Cassavetes, Marlon Brando, James Dean and even the much admired by Presley, Tony Curtis, who had adopted Hair cut and color) Before deciding on Paul Newman, but he had rejected because of its similarities with another of his recent roles, the boxer Rocky Graziano in “Somebody Up There Likes.” But the undeniable impact of Elvis Presley at the U.S. box office, where decidedly mediocre titles such as “Love Me Tender” and “Loving You” had made millions in revenue, and being under contract with Wallis had just made the main character being embodied by the king of rock.
In the hands of Curtiz always effective, and clothing with a good secondary campus (Dean Jagger, Carolyn Jones, Walter Matthau, Vic Morrow), the running speeds up to concluding it by military service star. In addition, they hire some of the best songwriters of the moment, as Jerry Leiber and Mike Stoller (Authors of timeless hits as “Hound Dog,” “Poison Ivy” or “Stand By Me”) to the soundtrack. The end result, shot in elegant black and white by Russell Harlan (would be the last title in black and white Elvis gradually embarked on colorful vehicles for showcasing musical and physical), is possibly the best film of his films and shows that perhaps in other hands, Presley could have become a significant artist (like other singers who preceded him, for example, Bing Crosby, Frank Sinatra and Dean Martin). At least Elvis was the preferred film of hers, and her favorite director Curtiz. Unfortunately, it would never work together.
“King Creole” Monday morning is planned March 21 at 19:30 pm in the ICCAT. As always in original version with subtitles and free admission. After the screening, the usual conversation where we will try to delve into aspects of the movie itself or the career of the King of rock.
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