While many Elvis Presley films hold a special place for fans, William A. Graham’s Change of Habit (1969) occupies a uniquely significant, if often overlooked, position in cinematic history. This wasn’t just another movie; it offered Elvis a rare dramatic platform and marked crucial turning points for both the King of Rock ‘n’ Roll and his co-star, television icon Mary Tyler Moore. Exploring the Mary Tyler Moore And Elvis Presley Movie reveals more than just a curious casting footnote; it showcases two legends at a crossroads. Change of Habit stands as Elvis Presley’s final fictional film role, closing a chapter on his Hollywood aspirations while simultaneously preceding Mary Tyler Moore’s ascent to television superstardom.
Mary Tyler Moore sitting next to Elvis Presley on set of Change of Habit
A Turning Point for the King of Rock ‘n’ Roll
By 1969, Elvis Presley was actively shifting focus away from his film career, which had largely disappointed him, towards revitalizing his music. His triumphant ’68 Comeback Special had reinvigorated his image and resulted in a best-selling album, setting the stage for his legendary Las Vegas era. Returning to Hollywood for Change of Habit was reportedly done reluctantly. The film was part of a two-project deal his manager, Colonel Tom Parker, had struck with NBC, the other project being the comeback special itself. Few could have predicted that this commitment would result in Elvis Presley’s last scripted acting role. His subsequent cinematic appearances were limited to the successful concert documentaries Elvis: That’s the Way It Is (1970) and Elvis on Tour (1972).
Mary Tyler Moore Before Her Iconic Sitcom
Mary Tyler Moore was already a beloved figure in 1969, known for her role as Laura Petrie on the classic sitcom The Dick Van Dyke Show and her appearance in the acclaimed musical film Thoroughly Modern Millie (1967). Change of Habit was initially developed as a vehicle for Moore, but plans shifted when Elvis Presley was cast as the co-lead. Remarkably, just a year after Change of Habit‘s release, The Mary Tyler Moore Show premiered on September 19, 1970, cementing her status as a television legend. Being Elvis Presley’s last leading lady adds another layer to her distinguished career. Following Change of Habit, Moore wouldn’t return to the big screen for over a decade, reappearing in Robert Redford’s Ordinary People (1980) in a critically acclaimed, Oscar-nominated dramatic performance.
Promotional image for Change of Habit featuring Elvis Presley and Mary Tyler Moore
Unpacking the Plot: Nuns Undercover
Change of Habit presents a compelling premise centered on three Catholic nuns tasked with a challenging assignment: working as nurses in an underprivileged urban neighborhood without wearing their traditional habits. Sister Michelle (Moore), a psychiatric social worker specializing in speech therapy; Sister Irene (Barbara McNair), an RN with a public health degree; and Sister Barbara (Jane Elliot in her film debut), a laboratory technician, are meant to integrate into the community as ordinary women, hoping to connect more effectively with the residents.
Jane Elliot, Mary Tyler Moore, and Barbara McNair as undercover nuns in Change of Habit
Their base of operations is a free clinic run by the handsome and dedicated Dr. John Carpenter, played by Elvis Presley. Initially mistaking the women for patients, Dr. Carpenter soon assigns them roles according to their expertise. The narrative delves into the harsh realities faced by the community, touching upon poverty, crime, various forms of abuse, and discrimination. The nuns’ secret identities cause considerable friction, particularly with the conservative Father Gibbons (Regis Toomey), who disapproves of their modern attire and assignment. Further complications arise from gossiping neighbors (Ruth McDevitt and Doro Merande), whose reports fuel Father Gibbons’ campaign to have the nuns recalled to the convent. Amidst this, an unforeseen emotional entanglement develops: Dr. Carpenter falls in love with Sister Michelle, unaware of her true vocation, and she finds herself reciprocating his feelings.
Themes and Standout Performances
The film navigates complex themes relevant to the late 1960s, including social activism, racial identity, and the conflict between religious devotion and personal desire. Each nun undergoes a transformation. Barbara, the activist, finds the constraints of sisterhood too limiting and chooses to leave. Irene confronts her identity as a Black woman, overcoming past traumas. Barbara McNair delivers a particularly strong performance, conveying Irene’s inner turmoil with quiet intensity.
Mary Tyler Moore as Sister Michelle contemplating in Change of Habit
Sister Michelle faces the most profound dilemma: choosing between her commitment to God and her love for Dr. Carpenter. Moore portrays this internal struggle with appropriate restraint and sensitivity. The supporting cast adds depth, featuring veteran actor Regis Toomey as the rigid Father Gibbons and Richard Carlson in his final film role as the more understanding Bishop Finley. Notably, a young Ed Asner appears as Police Lt. Moretti, foreshadowing his future iconic collaboration with Mary Tyler Moore on her eponymous TV show, though they share no scenes here.
Music, Legacy, and Behind the Scenes
While Change of Habit is primarily a drama, it incorporates musical moments featuring Elvis. Dr. Carpenter performs the energetic “Rubberneckin’” early in the film and the moving gospel number “Let Us Pray” towards the end. These sequences feel relatively integrated compared to the often-forced musical numbers in Elvis’s earlier films. The film also features the title track and another song during a neighborhood scene.
Elvis Presley singing Rubberneckin with backup singers including Darlene Love in Change of Habit
A treat for music fans is the appearance of the legendary Darlene Love as one of the backup singers during “Rubberneckin’” and “Let Us Pray.” Although she has no dialogue, her presence adds musical pedigree. The film provided Elvis a chance to showcase a more serious acting side, a departure from the light musical comedies that dominated his filmography. He appears committed to the role of Dr. John Carpenter, looking fit and engaged.
Close-up of Elvis Presley as Dr John Carpenter in Change of Habit
Despite its potential, Change of Habit met with only moderate box office success. Audiences, perhaps mirroring Elvis’s own inclination, were shifting their anticipation towards his live performances and recordings. The film remains a fascinating “what if” in Elvis’s career – had he pursued more roles with similar dramatic weight, could his trajectory have changed?
Co-workers consistently recalled positive experiences working with Elvis on the film. Director William A. Graham described him as “the nicest man he’d ever met.” Ed Asner, who had previously worked with Elvis on Kid Galahad (1962), remembered him as “very nice to work with – a delightful young man to be around – he worked very hard.” Mary Tyler Moore shared with “Elvis Australia,” “It was a wonderful experience. He was charming and he had a big crush on me… He was shy.” These accounts paint a picture of a professional and amiable star, even as he was preparing to leave Hollywood behind.
Mary Tyler Moore, Elvis Presley, and director William A. Graham discuss a scene on the set of Change of Habit
Elvis Presley and Barbara McNair share a moment on the set of Change of Habit
Gospel singer Mahalia Jackson visits Elvis Presley and Barbara McNair on the Change of Habit set
Conclusion
Change of Habit remains a significant entry in the filmographies of its two iconic stars. As the definitive Mary Tyler Moore And Elvis Presley Movie, it captures both performers at pivotal moments. For Presley, it was a farewell to narrative filmmaking, offering a glimpse of the dramatic actor he might have further explored. For Moore, it was a final big-screen role before she conquered television comedy, showcasing her versatility. More than just a trivia answer, the film offers a layered story tackling social issues and personal dilemmas, anchored by the unique pairing of the King of Rock ‘n’ Roll and the future queen of sitcoms. It stands as an underrated piece deserving of attention from fans of classic cinema and these legendary entertainers.
