Decoding “Live a Little, Love a Little”: Elvis Presley’s Mid-Career Cinematic Shift

Released in October 1968, Live a Little, Love a Little, Elvis Presley’s 28th film, marked a notable departure from the formulaic musical comedies that had defined much of his 1960s filmography. Following closely on the heels of Stay Away, Joe earlier that year, this Metro-Goldwyn-Mayer production signaled a shift towards more unconventional narratives, leaving traditional Elvis fans navigating unfamiliar territory. Directed by Norman Taurog, who had collaborated with Presley on eight previous films, this project promised something distinctly different from their earlier song-filled, romantic ventures. The movie veers onto “Bizarre Boulevard” right after the opening credits, setting an unusual tone for an Elvis Presley Movie Live A Little Love A Little.

The equilibrium of Live a Little, Love a Little is immediately disrupted by the introduction of Bernice, portrayed with eccentric flair by Michele Carey, and her Great Dane, Albert. Bernice’s mysterious and somewhat unsettling presence dominates the early scenes. Moments after encountering Elvis’s character, a photographer named Greg Nolan, on the beach, Bernice, in an inexplicable move, effectively “kidnaps” him. Her subsequent attempts to exert control over Greg’s life form the core of the storyline, yet her ultimate motivations remain frustratingly obscure to the viewer.

An Unusual Narrative and Tone Shift

Unlike the typical plots of previous Presley features, which often rested on flimsy but understandable romantic premises, Live a Little, Love a Little deliberately keeps its audience, and Greg, in the dark regarding Bernice’s intentions. She offers cryptic explanations for her use of multiple names—Alice, Susie, Betty, Mrs. Baby—attributing them to different moods. Her dialogue often takes unexpected turns, such as abruptly telling Greg, “I’ll bet you’re a marvelous lover,” followed by the bold question, “Would you like to make love to me?” only to retreat when he responds affirmatively. This unpredictable behavior sets the stage for a film that oscillates between genres.
Elvis Presley promotional image for Live a Little, Love a Little movieThe film opens with a scene of Albert the dog chasing Elvis into the surf, suggesting a straight comedy. However, while comedic elements are present, a dramatic undercurrent quickly emerges. Greg, initially frustrated by Bernice’s erratic nature, becomes increasingly angry throughout much of the movie. The film also features one of the more intense fight sequences seen in Presley’s pictures, notably involving Elvis’s long-time friend, Red West. Later, Greg even resorts to sucker-punching Bernice’s timid former husband, played by Dick Sargent, further highlighting the shift in tone from lighthearted romp to something darker.

Critical Reception and Missed Potential

The unconventional approach of the film did not universally resonate with critics. In a review published on October 9, 1968, Variety reviewer “Murf” deemed Live a Little, Love a Little one of Presley’s “dimmest vehicles.” The review criticized the central premise, stating, “Story peg—why has Michele Carey effectively kidnapped him?—is sidetracked in banal plotting and trite dialog until the answer not only doesn’t matter, it is barely noted at all.” Murf also found the songs “dull” and the overall physical production values “standard,” leading to a conclusion that “mediocrity prevails” and predicting “below average b.o. prospects.”
According to the Variety critique, the vague screenplay by Michael A. Hoey and Dan Greenburg ultimately hindered the film. The reviewer noted that Bernice and her dog “mysteriously dominate Presley’s life,” and this angle remained “unresolved so long that ultimate explanation… has long since been smothered out by Presley’s far more interesting day-lighting as a photographer for both conservative [Rudy] Vallee and girlie mag publisher Don Porter.” This highlights the film’s struggle to balance its bizarre central conceit with more conventional plot elements. For fans interested in exploring Elvis’s broader musical impact beyond his films, reviewing something like a elvis presley love songs album or a compilation of youtube music elvis greatest hits offers a different perspective on his artistic output.

Pacing, Scenery, and The Music

While the plot of Live a Little, Love a Little may meander, the film maintains a brisk pace, driven by Greg’s dual photography careers and constant movement. The opening sequence features Elvis racing around in a dune buggy, setting a tone of kinetic energy. Greg is frequently shown speeding in his convertible or running between appointments, creating a sense of busyness that belies the narrative’s lack of clear direction. As one review noted, the movie seems “in a hurry to get nowhere.” In contrast to many earlier Elvis films where dull plots were often offset by numerous musical numbers or picturesque locations curated by producer Hal Wallis, this film offers limited visual appeal beyond its cast of attractive women.
Promotional still from Live a Little, Love a Little Elvis Presley movieThe music, a cornerstone of most Elvis movies, is notably sparse here, with only four songs featured. This reduced musical presence means the songs are too spread out to significantly enhance the film’s overall appeal. Unlike many of its predecessors, Live a Little, Love a Little lacks a prominent title song or a concluding musical number. The passable “Wonderful World” plays over the opening credits. “The Edge of Reality” is featured during a dream sequence, allowing Elvis to incorporate some of his signature 1950s-era stage moves. The standout track is “A Little Less Conversation,” penned by Mac Davis, who was becoming a significant songwriter for Presley during this period leading up to his musical resurgence. The final vocal is the somewhat forgettable ballad, “Almost in Love.” Those curious about Elvis’s chart performance might compare these tracks to the widely recognized elvis presley songs top 10.

Elvis’s Appearance and Supporting Cast

At 33 years old, Elvis Presley appeared handsome and physically fit in Live a Little, Love a Little. This film was the last he made before taping his critically acclaimed 1968 NBC-TV “Comeback Special,” and his visible effort to get into peak physical condition for that pivotal event is evident in his appearance here. Interestingly, the Variety reviewer noted an unusual aspect of his look, commenting, “For some reason, Presley’s makeup tones resemble the American Indian character he played in ‘Stay Away, Joe,’ while Miss Carey’s flesh tones often are unnaturally pink. Makes for some unusual two-shots, though.”
Candid shot of Elvis Presley on the set of Live a Little, Love a LittleAmong the supporting players, Michele Carey’s portrayal of Bernice is by far the most substantial role. In the film’s initial sections, she not only drives the plot but also commands a disproportionate amount of dialogue and screen time compared to Elvis. Variety also highlighted Dick Sargent, Eddie Hodges, and Joan Shawlee as “prominent in support.” Celeste Yarnall, a striking presence to whom Elvis sings “A Little Less Conversation,” received recognition as the “Most Promising New Star” of 1968 by the National Association of Theatre Owners, underscoring her notable performance in the film.

A Transitional Film in Elvis’s Career

As Elvis’s earlier formula of song-filled, romantic comedies began to see diminishing returns at the box office, Hollywood studios experimented with reducing the musical emphasis and incorporating more avant-garde or unconventional elements into his films. Live a Little, Love a Little stands as a prime example of this experimental phase. Unfortunately for the studio, this shift did not translate to commercial success, as the film performed poorly at the box office. This outcome prompted studio executives to reconsider their marketing approach for the star. However, their concerns were soon rendered moot, as Elvis himself would make the pivotal decision to transition away from Hollywood filmmaking and toward live performances, culminating in his iconic Las Vegas residencies and television specials like the one later released as elvis presley that’s the way it is deluxe edition. Following Live a Little, Love a Little, there would be only three more theatrical features in the extensive film career of Elvis Presley, making this movie a distinct, albeit commercially challenging, stepping stone towards the next phase of his legendary career.