While anticipating guaranteed box office success, Variety noted in its March 30, 1966, review of Elvis Presley’s twentieth film, Frankie and Johnny, that it was “Elvis all the way in a story built loosely around the classic folk song, coupled with a dozen or so tunes, pretty girls and Technicolor.” Directed by Frederick de Cordova for Edward Small Productions, the Frankie And Johnny Elvis Movie was positioned as “pleasant entertainment” and another “Presley money-winner,” a significant nod in an era where many Hollywood projects failed financially. Elvis’s consistent ability to draw audiences was, indeed, high praise.
Behind the Scenes: Production and Casting
Though released by United Artists, Frankie and Johnny utilized MGM’s Hollywood lot for filming, which took place from May 24 to June 23, 1965. The film marked a significant starring role for Donna Douglas, fresh off her success in The Beverly Hillbillies, playing Frankie, Elvis’s primary love interest. It was also the final feature film directed by Frederick de Cordova, perhaps most remembered then for guiding Ronald Reagan in Bedtime for Bonzo (1952). Frankie and Johnny held its premiere in Baton Rouge, Louisiana, on March 31, 1966.
Plot, Performance, and Presley’s Presence
For many viewers at the time, especially younger fans witnessing the rise of The Beatles, the film felt somewhat dated. There was an expectation, or perhaps a hope, that Elvis would counter the British Invasion’s challenge with something musically dynamic in his films. Frankie and Johnny, however, largely offered more of the established formula. Revisiting the film decades later reveals perhaps more entertainment value than initially perceived. It starts strongly, leveraging colorful period costumes and comedic dialogue. Harry Morgan, as Elvis’s sidekick Cully, delivers numerous punchlines with Presley playing the straight man effectively. The visual appeal is enhanced by the female leads: Donna Douglas, Nancy Kovak (as Nellie Bly), and Sue Ane Langdon (as Mitzi).
Elvis portrays Johnny, a riverboat performer addicted to gambling and seemingly unlucky in love. The character is intended to be a charming rogue, but his constant misjudgments and deceptive behavior make him somewhat difficult to fully embrace. At 30, Presley retained his signature good looks, though noticeably heavier than in his previous outing, Harum Scarum. Despite this, he appears more engaged and perhaps enjoying himself more than in that earlier film. Keeping with tradition for Presley movies, Frankie and Johnny includes a requisite fistfight, which Elvis predictably wins. Variety aptly summarized his contribution: “Elvis is Elvis… He sings and acts, apparently doing both with only slight effort.”
Elvis Presley and co-star Donna Douglas smiling in costume on the set of the Frankie and Johnny movie.
However, the film loses steam in its latter half. Johnny’s repetitive, unsuccessful attempts to strike it rich through gambling become tedious. A poorly conceived parade sequence places Elvis in an uncomfortable position, both musically and physically. Furthermore, several characters, particularly Sue Ane Langdon’s Mitzi, spend much of the screen time intoxicated, stretching the comedic element thin. As Variety noted, the picture ultimately serves as “an hour and a half romp, providing a showcase for Presley’s songs.”
The Music of Frankie and Johnny
The musical score, featuring twelve songs, is generally considered weak, comprising mostly ballads, standards, and period pieces that failed to ignite much excitement, especially compared to the dynamic sounds dominating the charts in 1966. Numbers like “Look Out Broadway” and “Down by the Riverside” felt particularly out of step. However, there were exceptions. “Please Don’t Stop Loving Me” stands out as a genuinely appealing ballad. Variety also highlighted an energetic number: “Presley does little hip swinging, no doubt in keeping with the period of the story, although he does get a chance to bounce out one number—‘Shout It Out’—with Dixieland accompaniment.”
Actress Nancy Kovak as Nellie Bly in a scene from the 1966 Elvis film Frankie and Johnny.
The undisputed musical centerpiece is the title track, “Frankie and Johnny.” It’s presented within a vibrant, well-staged production number, so effective that it’s reprised near the film’s conclusion. This climax briefly attempts faux drama, suggesting Johnny might have been fatally shot, a notion quickly dispelled given the film’s entirely lighthearted tone up to that point.
Reception and Box Office Impact
Variety‘s initial review praised the supporting elements: “Miss Douglas (Frankie) and Miss Kovak (Nellie Bly) endow pic with generous visual attractions… Sue Ane Langdon (Mitzi) gets a chance at a number of cute situations… Harry Morgan and Robert Strauss come across well… Anthony Eisley is adequate…” The direction and editing were credited for maintaining a “nice pace” and an “easy-going relaxing mood,” with Jacques Marquette’s cinematography noted for its quality, particularly during the musical numbers.
Promotional poster art for the Frankie and Johnny Elvis movie featuring Elvis Presley and Donna Douglas.
Despite being no less entertaining than Presley’s preceding mid-sixties films, Frankie and Johnny signaled a shift. By 1966, the seemingly infallible box office magic associated with Elvis’s name showed signs of waning. In 1965, three Presley films (Girl Happy, Roustabout, Tickle Me) ranked in Variety‘s top 30 grossing pictures, each earning over $3 million. Frankie and Johnny, however, grossed just over $2 million by the end of 1966, landing at #47 on Variety‘s list. His other two releases that year performed similarly. The reliable Presley film formula appeared to be losing its appeal, even among his dedicated fanbase.
Conclusion
The Frankie and Johnny Elvis movie remains a colorful, if somewhat unremarkable, entry in Presley’s filmography. While offering pleasant escapism, typical Elvis charm, and a standout title number, its uninspired soundtrack, formulaic plot, and weakening box office returns marked a turning point. It suggested that the cinematic vehicle that had served Elvis so well financially was beginning to tire, hinting at the need for a change that wouldn’t fully materialize until his 1968 comeback. For fans and film historians, it stands as an example of mid-sixties studio filmmaking and a moment when the King’s cinematic reign faced new challenges.
