Elvis Presley filmography
Elvis Presley was an American singer whose first acting role was in the 1956's Love Me Tender. Presley went go on to appear in a total of 31 feature films (31 scripted roles, plus two concert performance documentaries).
Despite a strong, promising start with Jailhouse Rock and King Creole coming after Love Me Tender, Presley's films, following his return from a military obligation, were made cheaply and quickly to keep costs low and profits high. Although critically panned throughout the 1960s, Presley's films were mostly well received by his fans. Hal B. Wallis, who produced nine of Presley's films, described them as, "the only sure thing in Hollywood."
The singer would star alongside a number of well-established actors, including Walter Matthau, Charles Bronson, Carolyn Jones, Angela Lansbury, Barbara Stanwyck, Jack Albertson, Gig Young, and Mary Tyler Moore. There were others who would later become famous, like an eleven-year-old Kurt Russell, making his screen debut in It Happened at the World's Fair (1963).
Presley left Hollywood after playing a doctor in the drama Change of Habit and returned to performing live in 1969. Following the success of his sold-out tours and Las Vegas shows, he allowed cameras to film him in concert and backstage in the early 1970s. One of these films, Elvis on Tour, won the 1973 Golden Globe award for best documentary.
Presley first became interested in acting in his youth; despite later declarations that he had no acting experience, fellow Humes High School students recalled that he was often cast as the lead in the Shakespeare plays they studied in English class. He admired actors such as James Dean and Marlon Brando, and reportedly paid close attention to their performing styles long before he ever set foot on a movie set. On March 26, 27, and 28, 1956, just days after the release of his first album, he did a screen test for Paramount Pictures. His first screen test, a scene from the William Inge play The Girls of Summer, resulted in drama coach Charlotte Clary declaring to her class of students, "Now that is a natural born actor". Another test was an audition for a supporting role in The Rainmaker, starring Burt Lancaster. Screenwriter Allen Weiss compared his acting to that of "the lead in a high school play." Then, to his recording of "Blue Suede Shoes", Presley gave a lip-synced performance, complete with gyrations. In Weiss's description, "The transformation was incredible...electricity bounced off the walls. ... [It was] like an earthquake". In a radio interview two weeks later, Presley excitedly declared that he would be making his motion picture debut in The Rainmaker. The part ultimately went to Earl Holliman.
On April 25, Presley signed a seven-year contract with Paramount and producer Hal Wallis that also allowed him to work with other studios. Wallis, who had produced classics such as Casablanca, Little Caesar and The Maltese Falcon, had promised Presley that he would look for dramatic roles to let the singer take his acting career seriously. Wallis considered Presley for a role in The Rat Race, a film about a "naive, innocent boy" who was struggling to make it as a musician in Manhattan, but he decided against it after another studio executive said, "Elvis Presley just doesn't look like that". The film was eventually made in 1960 with Tony Curtis in the lead role. Another possible idea that Wallis mulled over was to pair Presley with Jerry Lewis. Lewis had just separated from his comedy partner Dean Martin after a successful run of seventeen movies together, but again the idea was shelved.
Eventually Wallis loaned Presley out to Twentieth Century-Fox and, in November, he made his big-screen debut with the musical western Love Me Tender. The original title—The Reno Brothers—was changed to capitalize on the advanced sales of the song "Love Me Tender". Presley was not too upset about the addition of the title song, he quite liked it, but when several more songs were added he blasted them as "garbage" and "silly songs". The film was generally panned by the critics, although a number of them viewed it in a positive light. The Los Angeles Times wrote: "Elvis can act. S'help me the boy's real good, even when he isn't singing". Despite mostly negative reviews, the film did well at the box office, generating $540,000 in its first week alone.
Although Presley was angered by the addition of songs to his film, the fans loved them. The success of both the single and EP set the tone for every Presley picture that was to follow, and the commercial success led to the release of three more Presley film vehicles over the next twenty months; Loving You, Jailhouse Rock, and King Creole. Jailhouse Rock and King Creole (1958), called for relatively dramatic performances. The erotic dance sequence to the former's title song is often cited as his greatest moment on screen. It was choreographed by Alex Romero after watching Presley himself. Howard Thompson of the New York Times began his review of the latter movie, "As the lad himself might say, cut my legs off and call me Shorty! Elvis Presley can act."
His first film after his return from the Army, G.I. Blues (1960), directed by Norman Taurog, set the tone for Presley's Hollywood output in the 1960s. Presley fans loved the mix of songs, romance and humor, and, perhaps surprisingly considering his experiences during the 1950s, critics were also warming to the new formulaic approach and clean-cut characters. Presley was not so thrilled, and thought many of the songs in G.I. Blues made no sense to the plot. He was concerned about the number of songs in it; unlike his earlier films, which consisted of fewer songs usually resulting in only an EP release, G.I. Blues had enough to release a full LP in its own right. As described by critic Al Clark, it was the "first in a series of nine bland Presley vehicles directed by Taurog, and the film which engendered a career formula of tepid, routine comedy-musicals." Presley at first insisted on pursuing more serious roles, but when two films in a more dramatic vein — Flaming Star (1960) and Wild in the Country (1961) — were less commercially successful, he reverted to the formula. So formulaic that his output has been called "Elvis movies", and a genre unto themselves. The majority of Presley's movies aimed for little more than reliable returns on modest investments and the promotion of their accompanying soundtrack albums. To maintain box office success, he would later even shift "into beefcake formula comedy mode for a few years." For most of the 1960s, during which he made 27 movies, there were few exceptions, such as the non-musical western, Charro!
Presley's movies were generally poorly received—one critic dismissed them as a "pantheon of bad taste". As a typical comment put it, the scripts "were all the same". It was further noted that the songs seemed to be "written on order by men who never really understood Elvis or rock and roll." Indeed, for Blue Hawaii, "fourteen songs were cut in just three days." Julie Parrish, who appeared in Paradise, Hawaiian Style, says that Presley hated many of the songs chosen for his films; he "couldn't stop laughing while he was recording" one of them. In Sight and Sound (1959) Peter John Dyer wrote that in his movies "Elvis Presley, aggressively bisexual in appeal, knowingly erotic, [was] acting like a crucified houri and singing with a kind of machine-made surrealism." Hal Wallis also had a reputation for such prestige productions as Becket (1964), starring Richard Burton and Peter O'Toole, and he received 16 Academy Award nominations for his movies. But Wallis's goals were clearly very different for his most reliably profitable star: "A Presley picture is the only sure thing in Hollywood," he said. Presley later branded Wallis "a double-dealing sonofabitch", realizing there had never been any intention to let him develop into a serious actor. Critics maintained that "No major star suffered through more bad movies than Elvis Presley." According to Priscilla Presley, in the late 1960s, "He blamed his fading popularity on his humdrum movies" and "... loathed their stock plots and short shooting schedules." She also notes: "He could have demanded better, more substantial scripts, but he didn't." Wallis defended his actions decades later, telling critics, "Elvis was a great entertainer, a great personality. . .and that is what we bought when we bought him. The idea of tailoring Elvis for dramatic roles is something that we never attempted because we did not sign Elvis as a second Jimmy Dean. We signed him as a number one Elvis Presley."
For all that, Presley's films were indeed commercially successful, and he "became a film genre of his own". On December 1, 1968, The New York Times wrote: "Three times a year Elvis Presley ... [makes] multi-million dollar feature-length films, with holiday titles like Blue Hawaii, Fun in Acapulco, Viva Las Vegas, Tickle Me, Easy Come, Easy Go, Live a Little, Love a Little and The Trouble with Girls. For each film, Elvis receives a million dollars in wages and 50 per cent of the profits ... [E]very film yields an LP sound-track record which may sell as many as two-million copies."
David Winters of "West Side Story" fame (Baby John on stage and A-rab in the film) worked with Presley as a choreographer on four of his movies Viva Las Vegas, Tickle Me, Easy Come, Easy Go and Girl Happy.. Ann-Margret, who co-starred in Viva Las Vegas with Presley, introduced him to Winters, and recommended Winters as the film's choreographer, Winters' first feature film choreography job. Ann-Margret was Winters' dance student at the time. The dynamic combination of Presley, Ann-Margret and Winters' choreography helped make Viva Las Vegas Presley's most successful film at the box office, returning more than $5 million to MGM, more than double the average gross on most other Presley movies of that decade. Winters also convinced the studios to let him use his own dancers in Presley's movies, most of whom were also Winters' dance students, including Teri Garr, who later received an Academy Award nomination for Tootsie. Garr, who was brought in by Winters to dance in Viva Las Vegas, appeared in eight other Presley films.
The silver screen gave many of his fans around the world their only opportunity to see him, given the almost complete absence of international appearances by the singer. (The only concerts Presley ever gave outside of the United States were in three Canadian cities in 1957). Still, as film critic and historian David Thomson asked, "Is there a greater contrast between energy and routine than that between Elvis Presley the phenomenon, live and on record, and Presley the automaton on film?"
Change of Habit (1969) was Presley's final non-concert movie. His films were no longer profitable, for by the late 1960s the Hippie movement had developed and musical acts like The Beatles, The Rolling Stones, Bob Dylan, Jefferson Airplane, Sly and the Family Stone, Grateful Dead, The Doors and Janis Joplin were dominating the airwaves. Therefore, Presley shifted his career back to recording and touring after these pictures. The highlights of this period include the television specials, '68 Comeback Special and Aloha From Hawaii.
Presley's last two theatrical films were concert documentaries in the early 1970s. In 1974 he lost the opportunity to co-star with Barbra Streisand in a big-budget remake of A Star Is Born when Parker demanded 50 percent of the profits from the production along with other extravagant financial demands. Joe Esposito also recalls that Presley was unsure about the project himself because he did not want to play a loser. With Kris Kristofferson as the male lead, the 1976 film became a major hit, winning five Golden Globe awards and being nominated for four Oscars.
The type of Elvis film varied widely, from the drama of Jailhouse Rock (1957) and King Creole, the latter directed by Michael Curtiz and based on the Harold Robbins 1952 novel A Stone for Danny Fisher, to the light comedies Kissin' Cousins (1964) and Tickle Me (1965). A quote attributed to Presley in the documentary This is Elvis alleged that some of the films even made him physically ill.
|1956||Love Me Tender||Clint Reno||Richard Egan, Debra Paget||Robert D. Webb||20th Century Fox||(b&w) The only film in which Presley did not get top billing; also the only film he made where his character was killed on screen|
|1957||Loving You||Jimmy Tompkins (Deke Rivers)||Lizabeth Scott, Wendell Corey, Dolores Hart||Hal Kanter||Paramount Pictures||The Jordanaires appear for the first time, and Presley's parents are in the audience|
|Jailhouse Rock||Vince Everett||Judy Tyler, Mickey Shaughnessy||Richard Thorpe||Metro-Goldwyn-Mayer||(b&w) Judy Tyler and her husband were killed in a car wreck on July 3, 1957, just days after filming ended; composer Mike Stoller appears as the band pianist; and D.J. Fontana, Scotty Moore, and Bill Black (Elvis' regular band at that time) also appear|
|1958||King Creole||Danny Fisher||Carolyn Jones, Walter Matthau, Dean Jagger, Dolores Hart||Michael Curtiz||Paramount Pictures||(b&w) Based on a 1952 novel A Stone for Danny Fisher by Harold Robbins; Presley's favorite of the films he made; and his last movie before going into the Army|
|1960||G.I. Blues||Tulsa McLean||Juliet Prowse||Norman Taurog||Paramount Pictures||Elvis' first movie after his Army release; the 1st Medium Tank Battalion, 32nd Armored was Presley's regiment when he was in the Army with the 3rd Armored Division in Germany, so it was used for the film; the soundtrack album went to No. 1 on Billboard and spent over two years (111 weeks) on the Billboard charts|
|Flaming Star||Pacer Burton||Barbara Eden, Steve Forrest, Dolores del Rio, John McIntire||Don Siegel||20th Century Fox||Andy Warhol's famous diptych of Presley as a cowboy came from a shot in this movie|
|1961||Wild in the Country||Glenn Tyler||Hope Lange, Tuesday Weld, Millie Perkins||Philip Dunne||20th Century Fox||Millie Perkins broke her arm when she had to slap Presley's character|
|Blue Hawaii||Chad Gates||Joan Blackman, Angela Lansbury||Norman Taurog||Paramount Pictures||The soundtrack for this movie became Presley's most successful chart album, spending 20 consecutive weeks at #1 on the Billboard Top LP's chart in 1961–62; Angela Lansbury plays the role of Elvis' mother, although in reality she was only nine years Elvis' senior|
|1962||Follow That Dream||Toby Kwimper||Arthur O'Connell, Anne Helm||Gordon Douglas||United Artists||Filmed in Citrus County, Florida and Levy County, Florida|
|Kid Galahad||Walter Gulick / Kid Galahad||Charles Bronson, Gig Young, Lola Albright, Joan Blackman||Phil Karlson||United Artists||A remake of a 1937 film|
|Girls! Girls! Girls!||Ross Carpenter||Stella Stevens, Jeremy Slate, Laurel Goodwin||Norman Taurog||Paramount Pictures||The only one of his feature films to be nominated for a Golden Globe|
|1963||It Happened at the World's Fair||Mike Edwards||Joan O'Brien, Gary Lockwood, Vicky Tiu||Norman Taurog||Metro-Goldwyn-Mayer||Kurt Russell makes his movie debut as an uncredited kid who kicks Elvis in the shin (Russell would portray Elvis in the 1979 TV biopic Elvis)|
|Fun in Acapulco||Mike Windgren||Ursula Andress, Elsa Cardenas, Alejandro Rey,||Richard Thorpe||Paramount Pictures||Teri Garr makes her movie debut as dancer (uncredited); none of Presley's scenes were shot in Mexico|
|1964||Kissin' Cousins||Josh Morgan / Jodie Tatum||Arthur O'Connell, Glenda Farrell, Jack Albertson, Pamela Austin, Yvonne Craig||Gene Nelson||Metro-Goldwyn-Mayer||Elvis' first dual role; Presley loathed the "strawberry blond" wig he had to wear as the hillbilly cousin in this film, in part because it made him look as he had before deciding to dye his hair black in 1957|
|Viva Las Vegas||Lucky Jackson||Ann-Margret, Cesare Danova, William Demarest||George Sidney||Metro-Goldwyn-Mayer||Presley's most successful film at the box office, returning more than $9 million to MGM on an investment of less than $1 million; David Winters' first of four films he choreographed for Elvis|
|Roustabout||Charlie Rogers||Barbara Stanwyck, Leif Erickson, Joan Freeman||John Rich||Paramount Pictures||Presley insisted on doing his own stunt work, including a fight scene in which he incurred a head wound; since a motorcycle accident had been filmed, it was decided to write the head wound into the script|
|1965||Girl Happy||Rusty Wells||Shelley Fabares, Harold J. Stone, Mary Ann Mobley, Nita Talbot||Boris Sagal||Metro-Goldwyn-Mayer||Fabares' first of three films in which she co-starred with Elvis; Elvis would get so disgusted at the music he was given to sing, he wouldn't return to the studio for another session for eight months|
|Tickle Me||Lonnie Beale / Panhandle Kid||Julie Adams, Jocelyn Lane, Jack Mullaney||Norman Taurog||Allied Artists Pictures||The only movie for which Presley did not record a new soundtrack; all songs had been recorded between 1960 and 1963 and already released|
|Harum Scarum||Johnny Tyronne||Mary Ann Mobley, Fran Jeffries||Gene Nelson||Metro-Goldwyn-Mayer||Col. Tom Parker wanted a talking camel in the movie|
|1966||Frankie and Johnny||Johnny||Donna Douglas, Harry Morgan, Sue Anne Langdon||Frederick de Cordova||United Artists||One of several movie variations based on the mid-19th century song of the same title|
|Paradise, Hawaiian Style||Rick Richards||Suzanna Leigh, James Shigeta, Donna Butterworth||Michael D. Moore||Paramount Pictures||This was 10-year-old Donna Butterworth's second and final film|
|Spinout||Mike McCoy||Shelley Fabares, Diane McBain, Deborah Walley, Carl Betz||Norman Taurog||Metro-Goldwyn-Mayer||The final film of veteran actress Una Merkel; President Lyndon Johnson visited Elvis on the set of this film|
|1967||Easy Come, Easy Go||Lt. (j.g.) Ted Jackson||Dodie Marshall, Pat Priest, Pat Harrington, Jr., Elsa Lanchester||John Rich||Paramount Pictures||The ship featured in the first part of the movie is the USS Gallant, an ocean-going minesweeper|
|Double Trouble||Guy Lambert||Annette Day, John Williams, Norman Rossington||Norman Taurog||Metro-Goldwyn-Mayer||This was the only movie Annette Day ever made.|
|Clambake||Scott Heyward||Shelley Fabares, Will Hutchins, Gary Merrill, Bill Bixby||Arthur H. Nadel||United Artists||The first of two films where Bixby co-stars with Presley—in this one, Bixby is the antagonist; the red sports car in this film is a 1959 Chevrolet Corvette Stingray Racer|
|1968||Stay Away, Joe||Joe Lightcloud||Burgess Meredith, Joan Blondell, Katy Jurado||Peter Tewksbury||Metro-Goldwyn-Mayer||Elvis as an Indian rodeo rider|
|Speedway||Steve Grayson||Nancy Sinatra, Bill Bixby, Gale Gordon, William Schallert||Norman Taurog||Metro-Goldwyn-Mayer||Several parts of this movie were filmed on location at Charlotte Motor Speedway in Concord, North Carolina, featuring cameos by several professional NASCAR drivers, including Richard Petty|
|Live a Little, Love a Little||Greg Nolan||Michele Carey, Rudy Vallee, Don Porter, Dick Sargent||Norman Taurog||Metro-Goldwyn-Mayer||Albert, the Great Dane in the movie, was portrayed by Presley's real-life dog, Brutus; Presley's father appears uncredited as an model for one of the magazine photoshoots for one of the firms Presley's character works for|
|1969||Charro!||Jess Wade||Ina Balin, Victor French||Charles Marquis Warren||National General Pictures||The only Presley film in which Elvis never sings a song, and the only one where he wears a beard; Gunsmoke producer Charles Marquis Warren was the director and screenwriter|
|The Trouble with Girls||Walter Hale||Marlyn Mason, Sheree North, Vincent Price, Dabney Coleman||Peter Tewksbury||Metro-Goldwyn-Mayer||Anissa Jones, best known for playing Buffy on the TV sitcom Family Affair, makes her only movie appearance; upon completion, Presley begins recording non-soundtrack material at American Sound Studios in Memphis|
|Change of Habit||Dr. John Carpenter||Mary Tyler Moore, Barbara McNair, Edward Asner||William A. Graham||Universal Studios||Presley's only movie for Universal Studios and last feature film role; This was made a year before Tyler Moore and Asner would star in TV's Mary Tyler Moore Show|
|1970||Elvis: That's the Way It Is||Himself||The Imperials, The Sweet Inspirations||Denis Sanders||Metro-Goldwyn-Mayer||Concert documentary; filmed during Presley's third season in Las Vegas|
|1972||Elvis on Tour||Himself||J.D. Sumner & The Stamps||Robert Abel & Pierre Adidge||Metro-Goldwyn-Mayer||Concert documentary; 1973 Golden Globe winner for Best Documentary film (it tied with Walls of Fire )|
Top grossing films at the box office
Based on the Box Office Report database, the top grossing Elvis Presley films based on the yearly Top 20 box office rankings were:
- Viva Las Vegas (May, 1964, MGM), no. 11 on the list of the top grossing movies of the year in the U.S., $39,176,206
- Jailhouse Rock (October, 1957, MGM), no. 12, $32,747,986
- Blue Hawaii (November, 1961, Paramount), no. 13, $37,092,316
- G.I. Blues (August, 1960, Paramount), no. 15, $34,279,078
- Loving You (July, 1957, Paramount), tied for no. 15, $31,068,602
- Girls! Girls! Girls! (November, 1962, Paramount), no. 19, $28,067,327
- Love Me Tender (November, 1956, Twentieth Century Fox), no. 20, $36,432,558
- Girl Happy (1965, MGM), no. 25, $23,199,261
- Kissin' Cousins (1964, MGM), no. 26, $21,291,416
- Roustabout (1964, Paramount), no. 28, $22,812,232
- Please note that these figures have been adjusted for inflation.
For a number of years, exhibitors voted Elvis Presley one of the most popular stars at the box office.
- 1957: 4th (US) (NB Pat Boone was number 3)
- 1958: 13th (US), 10th (UK)
- 1960: 21st (US)
- 1961: 10th (US)
- 1962: 5th (US), 2nd (UK)
- 1963: 7th (US), 3rd (UK)
- 1964: 6th (US)
- 1965: 6th (US), 2nd (UK)
- 1966: 10th (US), 10th (UK)
- 1967: 16th (US)
Awards and nominations
Elvis on Tour (1972) won the 1973 Golden Globe award for Best Documentary film. Academy Award-winning director Martin Scorsese was the montage supervisor for the film. Andrew W. Solt was a researcher on the film.
For Viva Las Vegas (1964), he received a 3rd place prize 1965 Laurel Award for best male performance in a musical film. Viva Las Vegas also was runner-up in the category of the best musical of 1964 in the 1965 Laurel Awards.
Girls! Girls! Girls! was nominated for a Golden Globe Award for Best Motion Picture - Musical at the 1963 ceremony. Elvis Presley received a 2nd place Laurel Award for the best male performance in a musical for his acting role in this film.
Anthony Lawrence and Allan Weiss were nominated for the award for Best Written American Musical by the Writers' Guild of America for writing the script for the 1964 film Roustabout (1964).
The G.I. Blues soundtrack album was nominated for two Grammy Awards in 1960 in the categories Best Sound Track Album or Recording of Original Cast from a Motion Picture or Television and Best Vocal Performance Album, Male. Edmund Beloin and Henry Garson were both nominated in 1961 by the Writers' Guild of America for G.I. Blues in the category of Best Written American Musical.
The Blue Hawaii soundtrack was nominated for a Grammy Award in 1961 in the category of Best Sound Track Album or Recording of Original Cast from a Motion Picture or Television. Hal Kanter was nominated by the Writers' Guild of America in 1962 in the category Best Written American Musical for the Blue Hawaii screenplay.
In 2004, Jailhouse Rock (1957) was selected for preservation in the United States National Film Registry as being deemed "culturally, historically or aesthetically significant."
- Bronson 1985, p. 1959.
- "Quotes About Elvis". Retrieved 3 March 2012.
- Victor 2008, p. 2.
- Brown; Broeske, Peter; Pat (1998). Down at the End of Lonely Street: Life and Death of Elvis Presley. Arrow Books Ltd. pp. 102–103. ISBN 978-0-7493-2319-6.
- Guralnick and Jorgensen 1999, p. 67.
- Guralnick and Jorgensen 1999, p. 68.
- "Although Elvis thought he might get a part in The Rainmaker, Hal Wallis said Elvis was merely reading from the handy script and was not auditioning for a part in that film. Notes for The Rainmaker (1957)". TCM.com. Retrieved 2009-12-27.
- Victor 2008, p. 315.
- Brown, Peter; Broeske, Pat (1998). Down at the End of Lonely Street: Life and Death of Elvis Presley. Arrow Books. p. 103. ISBN 978-0-7493-2319-6.
- Brown, Peter; Broeske, Pat (1998). Down at the End of Lonely Street: Life and Death of Elvis Presley. Arrow Books. p. 104. ISBN 978-0-7493-2319-6.
- Brown, Peter; Broeske, Pat (1998). Down at the End of Lonely Street: Life and Death of Elvis Presley. Arrow Books. p. 112. ISBN 978-0-7493-2319-6.
- Hall, Roger Lee. "Early Elvis". The Truth Behind "Love Me Tender". American music preservation. Retrieved 19 March 2011.
- Harbinson, p. 62.
- Guralnick, Peter (1998). Elvis: Day by Day. pp. 314–15.
- Brown and Broeske 1997, p. 124; Billy Poore, Rockabilly: A Forty-Year Journey (1998), p. 20.
- Gordon, Robert - The Elvis Treasures (2002 Elvis Presley Enterprises), p. 24.
- Thompson, Howard (1958-07-04). "King Creole: Actor With Guitar". New York Times. Retrieved 2009-12-23.
- Doll, Susan (2009). Elvis For Dummies. p. 119.
- Clark 2006, p. 508.
- Marcus 1980, p. 391
- Falk and Falk 2005, p. 52.
- "Elvis goes Hollywood: Fun in the sun, and not much else". CNN.com.
- Ponce de Leon 2007, p. 133.
- Caine 2005, p. 21.
- Kirchberg and Hendrickx 1999, p. 67.
- Jerry Hopkins, Elvis in Hawaii. Bess Press, 2002, p. 32.
- Hopkins, p. 31.
- Tom Lisanti, Fantasy Femmes of 60's Cinema: Interviews with 20 Actresses from Biker, Beach, and Elvis Movies. McFarland, 2000, pp. 19, 136.
- Peter John Dyer, "The Teenage Rave." Sight and Sound, Winter 1959–60, p. 30.
- Fields, Curt (2007-08-03). "A Whole Lotta Elvis Is Goin' to the Small Screen". Washington Post. Retrieved 2009-12-27.
- Guralnick 1999, p. 171.
- Christopher Lyon, The International Dictionary of Films and Filmmakers. Vol. 3, 1987, p. 511.
- Presley 1985, p. 188.
- Brown;Broeske, Peter; Pat (1997). Down at the end of Lonely Street: The Life and Death of Elvis Presley. p. 122.
- Lisanti 2000, p. 18.
- See "Elvis Aaron Presley 1957: The King of Rock 'n' Roll". Elvis Australia. Retrieved 2010-01-04.
- Thomson 1998, p. 602.
- Lisanti 2000, p. 9.
- Guralnick 1999, pp. 563–65.
- Brown; Broeske, Peter; Pat (1998). Down at the End of Lonely Street: Life and Death of Elvis Presley. Arrow Books Ltd. p. 383. ISBN 978-0-7493-2319-6.
- This is Elvis (1981).
- Guralnick 1999, p. 157.
- Guralnick 1999, p. 169.
- %22+elvis#v=onepage&q=%22talking%20camel%22%20elvis&f=false Elvis Presley: Silver Screen Icon. Books.google.co.uk. 2002. ISBN 9781570722325. Retrieved 2011-01-29.
- Quigley's Annual List of Box-Office Champions, 1932-1970 October 23, 2003 accessed July 9, 2012
- "Money-Making Films Of 1962." Times [London, England] 4 Jan. 1963: 4. The Times Digital Archive. Web. 11 July 2012.
- "Most Popular Films Of 1963." Times [London, England] 3 Jan. 1964: 4. The Times Digital Archive. Web. 11 July 2012.
- "Most Popular Film Star." Times [London, England] 31 Dec. 1965: 13. The Times Digital Archive. Web. 11 July 2012.
- "Most popular star for third time." Times [London, England] 31 Dec. 1966: 5. The Times Digital Archive. Web. 11 July 2012.
- 'Star Glitter Is Catching' By Richard L. Coe. The Washington Post, Times Herald (1959-1973) [Washington, D.C] 07 Jan 1968: H1.
- Elvis Presley-Awards.
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- Brown, Peter Harry, and Pat H. Broeske (1997). Down at the End of Lonely Street: The Life and Death of Elvis Presley. Signet. ISBN 0-451-19094-7.
- Caine, Andrew (2005). Interpreting Rock Movies: The Pop Film and Its Critics in Britain. Palgrave Macmillan. ISBN 0-7190-6538-0.
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- Falk, Ursula A., and Gerhard Falk (2005). Youth Culture and the Generation Gap. Algora Publishing. ISBN 0-87586-367-1.
- Guralnick, Peter (1999). Careless Love. The Unmaking of Elvis Presley. Back Bay Books. ISBN 0-316-33297-6.
- Guralnick, Peter, and Ernst Jorgensen (1999). Elvis Day by Day: The Definitive Record of His Life and Music. Ballantine. ISBN 0-345-42089-6.
- Kirchberg, Connie, and Marc Hendrickx (1999). Elvis Presley, Richard Nixon, and the American Dream. Jefferson, NC: McFarland and Company. ISBN 0-7864-0716-6.
- Lisanti, Tom (2000). Fantasy Femmes of 60's Cinema: Interviews with 20 Actresses from Biker, Beach, and Elvis Movies. McFarland and Company. ISBN 0-7864-0868-5.
- Marcus, Greil (1980). "Rock Films," The Rolling Stone Illustrated History of Rock & Roll, second edition. Random House. ISBN 0-394-73938-8.
- Ponce de Leon, Charles L. (2007). Fortunate Son: The Life of Elvis Presley. Macmillan. ISBN 0-8090-1641-9.
- Presley, Priscilla (1985). Elvis and Me. New York: G.P. Putnam's Sons. ISBN 0-399-12984-7.
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