Outside of his immediate family, Ann-Margret held a unique and deeply significant place in Elvis Presley’s life. Their collaboration on the 1963 film Viva Las Vegas not only produced one of Presley’s most memorable movie roles but also ignited a personal connection that became a fairytale interlude in his often complex life story, a bond that lasted until his untimely death in 1977. This relationship, born on a Hollywood soundstage, remains a captivating chapter in the annals of Ann Margret And Elvis Viva Las Vegas. As a key part of Shocknaue Entertainment News coverage, exploring this iconic celebrity romance reveals fascinating insights into the King of Rock and Roll and the vibrant star who captivated him. Their story is an essential piece of Elvis Presley’s history and Hollywood lore.
Their initial encounter occurred in early July 1963 at Radio Recorders studios in Hollywood. The occasion was their official introduction to the press as the lead stars of MGM’s upcoming musical feature, Viva Las Vegas. For the 28-year-old Presley, this marked his 14th film project. In contrast, Ann-Margret, then 22, was experiencing a meteoric rise to fame. Her previous film, Bye Bye Birdie, released only three months before she began work on Viva Las Vegas, had already solidified her status as a major star. The acclaimed film critic Dick Van Dyke even quipped that Bye Bye Birdie might have been more accurately titled The Ann-Margret Story, highlighting her burgeoning stardom. To understand the breadth of Presley’s musical career, exploring a comprehensive list of Presley songs provides valuable context.
In her 1994 autobiography, Ann-Margret provided a vivid recollection of her first meeting with the iconic entertainer:
“Except for a piano, the MGM soundstage where Elvis and I met was empty. In the background, a few of his guys hung around observing their boss, a ritual I would soon come to expect. Under the watchful gaze of director George Sidney, a studio photographer snapped shots of what the film company executives figured would be a historic moment.
“‘Elvis Presley, I’d like you to meet a wonderful young lady, Ann-Margret,’ said George Sidney. ‘Ann-Margret, this is Elvis Presley.’ The significance was lost on Elvis and me. I reached out my hand and he shook it gently. ‘I’ve heard a lot about you,’ we said at the same time, which made us laugh and broke the ice.”
Elvis Presley and Ann-Margret shaking hands at their first meeting for Viva Las Vegas
Beyond launching their professional collaboration, this meeting marked the inception of a significant personal connection. Ann-Margret reflected, “I’m not really sure why I was so calm about meeting ‘the King.’ After all, this was Elvis, a man who had captured the heart of almost every woman in America. Little did I know he would soon capture mine.” At the time, Elvis was already a global phenomenon, famous for his charismatic performances and string of Elvis Presley’s biggest hits.
Before principal photography commenced, the duo headed to the recording studio to lay down their musical tracks. On July 9th and 10th, they each recorded their solo numbers at Radio Recorders. Then, on July 11th, they stepped into the studio together to record three duets that would feature prominently in Viva Las Vegas: “The Lady Loves Me,” “You’re the Boss,” and “Today, Tomorrow, and Forever.”
Just three days later, the cast and crew relocated to Las Vegas, checking into the Sahara Hotel to begin location filming. Production in the city of Las Vegas commenced on July 15th and continued until July 26th. Following a weekend return to Los Angeles, filming resumed at MGM studios and extended through August into the initial week of September.
Ann-Margret quickly sensed the unique synergy developing between them on screen and off. She noted, “I’m sure that the producers knew that the fast-paced, boy-meets-girl musical would certainly be improved if the chemistry between Lucky and Rusty were right. Initially, Elvis and I might’ve admitted that the only heat between us came from the hot desert sun. But others saw sparks from the start.” This undeniable connection soon became apparent to everyone involved. An Associated Press correspondent covering the production observed, “They hold hands. They disappear into his dressing room between shots. They lunch together in seclusion.”
Elvis Presley and Ann-Margret during filming of Viva Las Vegas, showing their chemistry
According to Ann-Margret, their shared passion for music was an immediate catalyst for their bond:
“We experienced music in the same visceral way. Music ignited a fiery pent-up passion inside Elvis and inside me. It was an odd, embarrassing, funny, inspiring, and wonderful sensation. We looked at each other move and saw virtual mirror images. When Elvis thrust his pelvis, mine slammed forward too. When his shoulder dropped, I was down there with him. When he whirled, I was already on my heel.”
As they spent more time together, Ann-Margret says they discovered numerous shared interests. Beyond their mutual love for music, they connected over passions for motorcycles, a strong devotion to family, a deep desire for privacy away from the spotlight, a shared faith in God, and the comfort of late-night conversations. Early in the filming schedule, Elvis invited her to join him and his inner circle, known as the Memphis Mafia, for a show in Las Vegas. She recalled it as “an innocent, friendly date.” Being accustomed to her parents accompanying her, Elvis’s entourage didn’t pose a problem; she found his friends always treated her with kindness and respect.
Elvis Presley and Ann-Margret sharing a moment together on set
In turn, Elvis’s close friends felt at ease and comfortable in Ann-Margret’s presence. Elvis’s cousin, Billy Smith, commented, “She made his life a little easier because she understood him and didn’t make any demands on him. She even understood his need for us. Priscilla never understood that.” Marty Lacker, another member of the inner circle, added, “Ann genuinely liked people, and she liked every one of us. She wasn’t intimidated or threatened by us. I think she also respected us. We used to have a lot of fun with her. She had a terrific sense of humor. We called her ‘Rusty’ because that was her name in the movie and because of her red hair.”
As their connection deepened, Elvis and Ann-Margret began seeking out more private time together. Ann-Margret acknowledged stepping into “uncharted territory” when Elvis first asked to be alone with her. However, she admitted that the increasing frequency of these private moments brought her happiness, signifying that Elvis had come to truly trust her.
During these secluded times, Elvis reportedly opened up to Ann-Margret in ways he rarely did with others, allowing her to feel that she came to understand his true heart intimately:
“Like everyone else, Elvis had dreams and desires, hopes and hurts, wants and weaknesses. He didn’t reveal this vulnerable side until everyone had disappeared, until those private moments when we were alone, after darkness had blanketed the city and we’d parked somewhere up in the hills and could look down upon the sprawl of L.A. or up at the stars.”
One of the few points of friction during the Viva Las Vegas production was the alleged favoritism shown to Ann-Margret by director George Sidney regarding camera angles. Several members of Elvis’s entourage, including Red West, Lamar Fike, Joe Esposito, and Sonny West, claimed that Sidney often gave Ann-Margret more prominent or flattering camera time at Elvis’s perceived expense.
According to Red West, after reviewing the daily film rushes, Elvis would “complain bitterly to us that the sonofabitch was trying to cut him out of the picture.” These complaints were reportedly relayed to Colonel Tom Parker, Elvis’s formidable manager, who then intervened. Presley biographer Peter Guralnick documented that Parker confronted the studio producers, adamantly reminding them that Viva Las Vegas was fundamentally “an Elvis Presley picture.” Parker was reportedly unconvinced by MGM’s argument that showcasing Ann-Margret more would attract a broader audience. Guralnick even suggested that Parker exercised his considerable influence to have two of the three duets recorded by the pair removed from the final cut of the film.
A viewing of the finished film confirms that Elvis ultimately received the lion’s share of the musical spotlight, performing six solo numbers compared to Ann-Margret’s two. While her exceptional talent as a dancer was prominently featured, Viva Las Vegas ultimately presents itself as an Elvis Presley vehicle, albeit one featuring a remarkably strong and captivating leading lady in Ann-Margret. Notably, none of the accusations from Elvis’s side blamed Ann-Margret for the perceived directorial bias, and she herself did not address this specific controversy in her autobiography. Promotional images often highlighted their dynamic pairing.
Promotional photo of Elvis Presley and Ann-Margret as a couple in Viva Las Vegas
While professional tensions may have surfaced briefly around camera angles, they did not seem to spill over into Elvis’s personal relationship with Ann-Margret. By all accounts, their connection blossomed rapidly into a profound love affair. Lamar Fike unequivocally stated, “Elvis’ affair with Ann-Margret was not just an affair. He was really in love with her. It got hot and heavy.” Marty Lacker corroborated this, adding, “Neither one of them was married, and they really cared a lot about each other … and Priscilla was back at Graceland.” In her memoir, Ann-Margret chose to focus more on the adventurous and close friendship aspects of their bond, such as motorcycle rides and shared moments, rather than delving into explicit details of their intimacy.
Nevertheless, ample evidence suggests their intimate relationship persisted well after filming for Viva Las Vegas wrapped. Jerry Schilling recounted seeing Ann-Margret entering Elvis’s California residence late one night in the fall of 1964 using her own key and heading directly to his bedroom. Marty Lacker revealed, “She used to write him letters and sign them ‘Bunny’ or ‘Thumper.’ And she’d call Graceland and use the same code.” Ann-Margret herself subtly confirmed the depth of their connection in her book, mentioning that “Elvis knew I loved pink and had commissioned a round, pink bed in a moment of tenderness.” Elvis’s extensive career included music for many films, including songs from Elvis’s films like Change of Habit.
Despite the undeniable connection, Ann-Margret ultimately felt their love affair was fated to end. She explained in her autobiography:
“There were other factors in Elvis’s life that forced him apart from me, and I understood them. Elvis had always been honest with me, but still it was a confusing situation. We continued to see each other periodically, until we had dated for almost a year. Then everything halted. We knew the relationship had to end, that Elvis had to fulfill his commitment.”
That commitment ultimately led to Elvis marrying Priscilla Beaulieu in Las Vegas on May 1, 1967. Coincidentally, Ann-Margret made a similar lifelong commitment just one week later, marrying actor Roger Smith in the very same city.
For the remaining decade of Elvis’s life, he and Ann-Margret maintained a genuine and loyal friendship. When Ann-Margret made her highly anticipated debut on the Las Vegas stage in June 1967, Elvis sent her a distinctive guitar-shaped floral arrangement. He faithfully continued this thoughtful gesture for every one of her Las Vegas opening nights for the rest of his life. When Elvis himself opened at the International Hotel on July 31, 1969, Lamar Fike confirmed that Ann-Margret was present in the audience, supporting him. Throughout the 1970s, whenever possible, both would attend the other’s performances in Las Vegas and share visits backstage afterward. Even in his later career, Elvis continued to release powerful music, such as Elvis Presley’s music, such as Burning Love with the Royal Philharmonic Orchestra.
The 1970s also brought personal struggles for both stars, including battles with substance dependencies. While Elvis’s struggles involved prescription medications, Ann-Margret faced alcohol addiction. She candidly described her experience: “I reached a point where my days and nights blended into one continuous, foggy state of inebriation. I’d drink a fifth of scotch, pass out, wake up, drink some more, and pass out again. I suffered periods that I couldn’t remember.”
Ann-Margret ultimately overcame her addiction, a feat Elvis tragically did not achieve. In early 1977, she began hearing troubling rumors about Elvis’s declining health. When Joe Esposito visited her show at the Tropicana in Las Vegas, she anxiously inquired about Elvis’s well-being. Esposito attempted to reassure her, saying, “Don’t worry. Everything’s fine. There’re a few problems, but we’re taking care of them.”
When Ann-Margret opened at the Hilton on August 15, 1977, for the first time in a decade, the familiar guitar-shaped floral arrangement or telegram from Elvis was conspicuously absent. The devastating news arrived the following morning via a phone call from Graceland. Joe Esposito explained the chaotic scene expected in Memphis for the funeral and gently advised her against coming due to the intensity. Ann-Margret’s response was immediate and firm: “We’re coming.” Upon arriving at Graceland, she and Elvis’s father, Vernon Presley, shared a tearful embrace. She recalled the moment: “There was so much to say, to recount, but instead, we cried.” Vernon softly told her, “He was so proud of you.”
Three months later, Vernon Presley and Colonel Parker asked Ann-Margret to host a two-hour NBC television tribute dedicated to Elvis titled Memories of Elvis. She described this task as one of the most “difficult, wrenching jobs” she had ever taken on, a testament to her enduring grief and affection.
In early 1979, hearing that Vernon Presley was gravely ill, Ann-Margret flew to Memphis to visit him. She fondly remembered their time together: “We had a good visit, laughing and crying and trading stories. He told me how much he missed his son, and I said that I missed him, too.” To offer comfort, she continued to call Vernon periodically during the months leading up to his death on June 26, 1979.
Marty Lacker, who served as one of Elvis’s best men at his wedding to Priscilla, once mused, “If Elvis had ended up with Thumper, this whole story might have wound up differently.” The question of whether Ann-Margret could have potentially saved Elvis from his struggles, when others could not, remains a poignant and unanswerable “what if.” However, even at the height of their passionate romance, it seems both Ann-Margret and Elvis understood, on some level, that their paths, though deeply intertwined during the magic of Viva Las Vegas and beyond, were ultimately destined to diverge, leading them to fulfill different commitments in life.
