Released in 1957, the Jailhouse Rock movie stands as a cornerstone of early rock ‘n’ roll cinema and a pivotal film in Elvis Presley’s burgeoning Hollywood career. While now celebrated as a classic, its initial reception was complex, reflecting the cultural anxieties surrounding rock music and its biggest star. Decades later, the film’s raw energy, unforgettable soundtrack, and surprisingly gritty performance from Presley continue to captivate audiences, cementing its place as one of the King’s most memorable screen outings.
Official movie poster for the 1957 classic Jailhouse Rock movie starring Elvis Presley in a prison setting.
Presley Front and Center: A Star Vehicle
Unlike Elvis’s previous two films, Love Me Tender and Loving You, the Jailhouse Rock movie was unequivocally designed as a star vehicle for Presley. Produced by Metro-Goldwyn-Mayer (MGM), the film wastes no time, introducing Elvis mere seconds after the opening credits. He commands nearly every scene, showcasing a magnetic screen presence that carried the weight of the production. Supporting actors, including female lead Judy Tyler as Peggy Van Alden and Mickey Shaughnesay as Hunk Houghton, play significant roles but appear much later or have extended absences, underscoring that MGM was betting heavily on Presley’s ability to carry a major motion picture single-handedly.
Critical Reception: A Divided Response in 1957
Upon its release, critics acknowledged the film’s targeted appeal. Variety, in its October 16, 1957 review, noted the film was packed with “sure-fire ingredients producers know Presley followers go for,” predicting that “a considerable portion of the populace, particularly the cats, will find this Metro release in their alley.”
However, assessments of Presley’s performance varied. The New York Times was particularly harsh in its November 14, 1957 review, mocking his diction (“Uh got wars [wires] ’n’ letters from all over the wurl”) and criticizing his characterization: “Elvis stays front and center, of course, muttering his lines sheepishly, and wooing Miss Tyler by collapsing like a rag doll and hooking a chin on her shoulder.”
Conversely, other reviewers saw progress. Variety conceded Presley was “still no great shakes as an actor but gets by well enough,” while Hortense Morton of the San Francisco Examiner offered a more optimistic view on October 31, 1957: “Frankly, I think Presley will turn into quite an actor… It isn’t going to happen tomorrow or next year. But, it will happen.”
The Music and Performance: More Than Just Singing
The Jailhouse Rock movie demanded more than just singing from Elvis; he had to act while performing. His character, Vince Everett, begins as a rough, untrained singer, requiring Presley to initially deliver songs with a deliberate lack of polish. It’s only later in the film that the audience gets the full Elvis treatment, notably with the performance of “Treat Me Nice.”
Elvis Presley as Vince Everett performing the song ‘Treat Me Nice’ in a scene from the Jailhouse Rock movie.
Even The New York Times acknowledged the strength of the musical numbers, albeit with a characteristic jab at Elvis’s stage moves: “The sound technicians must have closed in, for this time most of his singing can actually be understood. And in two numbers, ‘Treat Me Nice’ and the title song, done as a convict jamboree, Elvis breaks loose with his St. Vitus specialty.” The title song’s production number, choreographed by Alex Romero (though often mistakenly attributed to Presley himself), remains one of the most iconic sequences in music film history.
Controversy: The “Bad Boy” Dilemma
By late 1957, rock ‘n’ roll faced increasing scrutiny from parents and civic leaders concerned about its perceived connection to juvenile delinquency. Reports of disturbances at concerts fueled calls for action against the music genre. Against this backdrop, the Jailhouse Rock movie, featuring Elvis as an often abrasive and morally ambiguous ex-convict, raised eyebrows.
The Los Angeles Times, in its November 14, 1957 review, sharply questioned the decision to portray Presley and rock ‘n’ roll in such a negative light:
“Why a popular teen-age idol like Presley and the contemporary musical rage of rock ’n’ roll must be associated and identified with crime, greed, profanity, vulgarity and brutality is beyond imagination… it would seem to be wise to do something FOR the rock ’n’ rollers and not something TO them… Yet in this picture the leading character plays a vicious, rude and unpleasant individual.”
The underlying fear was that the film might incite further unrest among teenagers. However, these concerns proved largely unfounded. While audiences certainly responded to Elvis’s rebellious portrayal, there’s no indication the movie led to a significant spike in misbehavior.
Enduring Appeal: Humor, Charm, and That Scene
Viewed today, beyond the controversy and initial critical divide, the Jailhouse Rock movie resonates strongly due to its surprising humor and undeniable charm. The central premise – a sullen ex-con rising almost overnight to become a national music and film sensation – is inherently fantastical. This implausibility allows the film’s more comedic moments to land effectively.
Candid moment: Elvis Presley relaxes behind the scenes during the filming of the Jailhouse Rock movie.
Memorable scenes often blend drama with an almost theatrical absurdity: Vince Everett slapping a record executive, a DJ (played by Dean Jones) reading a bizarre horsemeat commercial over “Treat Me Nice,” and an exaggeratedly passionate Hollywood love scene. Perhaps most famous is the sidewalk confrontation where Vince forcibly kisses Peggy. Steve Pond, author of Elvis in Hollywood, labels this the “definitive scene in Elvis’ career,” highlighting Vince’s line, “That ain’t tactics, honey. That’s just the beast in me,” as possibly the best dialogue Elvis ever delivered on screen. While melodramatic, the scene’s enduring power lies in its sheer audacity and memorable execution.
A Step Up for Elvis
Jailhouse Rock marked a significant step forward in Elvis Presley’s acting journey. While his next film, King Creole (1958), would present a more demanding dramatic challenge, the Jailhouse Rock movie possesses a unique appeal. Its blend of raw energy, iconic music, controversial themes, and unexpected humor creates a charm distinct among all of Elvis’s cinematic ventures. Its journey from a contentious release to an undisputed classic speaks volumes about its star and its enduring place in film history. The subsequent colorization might be debated, but the film’s black-and-white impact remains undeniable.
Conclusion
The Jailhouse Rock movie remains a fascinating cultural artifact and a highlight of Elvis Presley’s film career. It captured the rebellious spirit of early rock ‘n’ roll, showcased Presley’s commanding presence, and courted controversy with its portrayal of an anti-hero protagonist. Despite mixed initial reviews and societal concerns, the film triumphed, delivering iconic musical moments and establishing Elvis as a legitimate Hollywood leading man. Its blend of music, drama, and surprising charm ensures its status not just as a fan favorite, but as a landmark 1950s film.
