Is Elvis Presley’s 1969 film The Trouble With Girls his most underrated movie? Over time, this late-career film, initially dismissed and released obscurely, reveals surprising depth and warrants closer examination, particularly regarding its music and how it handles the theme reflected in the title, leading some fans to search for an “Elvis Movie Trouble Song”. While there isn’t a title track named “Trouble,” the film features significant songs that integrate seamlessly into its unique narrative.
Shot during a period when Elvis’s serious acting aspirations seemed diminished, The Trouble With Girls surprisingly features a more animated and engaged Presley than many of his contemporary films like Paradise, Hawaiian Style. He appears comfortable and charismatic in the role of Walter Hale, the manager of a traveling Chautauqua show in 1927. The film presents a period piece with a substantial plot involving a murder, allowing Elvis to create a character distinct from his superstar persona. Paradoxically, moments like his impromptu performance of Swing Down Sweet Chariot offer genuine glimpses of Elvis’s off-stage personality, akin to his concert documentaries.
Elvis in Context: Beyond the Formula
Hollywood often struggled to utilize Elvis effectively, frequently pairing him with directors whose strengths lay elsewhere. Yet, Presley often seemed most comfortable acting in period settings (Flaming Star, Love Me Tender, The Trouble With Girls), rural environments (Wild In The Country, Kid Galahad, Follow That Dream), or in thinly veiled biographical roles (Loving You, Jailhouse Rock, King Creole, Roustabout).
While films like Blue Hawaii, Fun In Acapulco, and Girls! Girls! Girls! were immensely popular, they often presented a commodified version of Elvis. Retrospectively, his more unconventional movies, where his unique personality subtly emerges, offer a more rewarding viewing experience.
A Story of Substance: Plot, Cast, and Atmosphere
The Trouble With Girls (full title: The Trouble with Girls (and How to Get into It)) had a long gestation period, finally reaching production perhaps merely to fulfill contractual obligations for MGM. However, the resulting film boasts a proper narrative: a local woman (Sheree North) kills the man sexually harassing her (Dabney Coleman). It features a superb supporting cast, including John Carradine, Vincent Price, Marlyn Mason, Edward Andrews, and Joyce Van Patten. Despite minor anachronisms, the movie effectively captures the atmosphere of the 1920s.
Elvis Presley as Walter Hale in the 1969 film The Trouble With Girls, a key scene from the underrated movie featuring notable songs.
Director Peter Tewksbury, known for the comedy Sunday In New York and his television editing skills, helmed both this film and the rather bizarre Stay Away Joe. Ironically, a significant flaw in The Trouble With Girls is a lengthy, poorly edited scene where Elvis’s character and colleagues attempt to sober up Sheree North’s character. North’s overacting in this sequence mars an otherwise strong portrayal of a woman disillusioned by small-town life.
Despite this, the script by Arnold and Lois Peyser delivers sharp dialogue and genuinely funny moments, such as Andrews’ character deciding things are so chaotic he might as well play football.
The Music: Integrating the “Elvis Movie Trouble Song” Concept
A key strength of the film lies in how its songs are woven into the narrative, addressing the search intent behind “Elvis Movie Trouble Song” by showing music reflecting the film’s themes. The funky Clean Up Your Own Backyard serves as a commentary on the hypocrisy exposed in the plot, while the melancholic Almost underscores the film’s emotional undertones. Other musical moments, like Violet and The Whiffenpoof Song, performed as part of the Chautauqua show, contribute to the period authenticity. This integration suggests the potential for a cohesive soundtrack album, reminiscent of O Brother, Where Art Thou?, where the music feels intrinsically part of the story’s fabric.
Elvis’s powerful rendition of the gospel standard Swing Down Sweet Chariot, performed when he steps in for an ailing singer, is a standout. It not only showcases his vocal talent but also taps into his genuine love for gospel music, reflecting a role he had aspired to in real life with groups like the Blackwood Brothers.
Elvis in Charge: Performance and Resonance
Unlike many of his films, The Trouble With Girls gives Elvis a role with agency beyond singing and romance. As Walter Hale, the Chautauqua manager, he is in charge, often directing the actions of his Colonel Parker-esque sidekick (played by Andrews). Whether intentional or not, this dynamic raises questions about personal resonances within the script, portraying Elvis in a managerial position he never fully achieved off-screen.
Elvis’s apparent enjoyment throughout the film is palpable, especially during the gospel number. Dressed in a striking white suit, sporting sideburns, and even smoking small cigars (a real-life habit), he looks fantastic and fully embodies the role of a charismatic, professional nomad.
Re-evaluating a Flawed Gem
The film’s misleading title likely hindered its reception, suggesting either a typical Elvis formula picture or a ’60s spy spoof. Instead, Tewksbury and Presley delivered an entertaining, albeit flawed, small-town drama that subtly advocates for tolerance and provides more insight into Elvis the man than films like Girl Happy or Clambake.
Even the notoriously critical New York Times acknowledged the film’s merits in its original 1969 review by Roger Greenspun. He called it a “charming though ineptly titled comedy” with “pleasant songs” and praised its “exceptionally even-handed, detailed, affectionate without sentimentality” portrayal of 1920s America. Crucially, the review noted that Elvis “performs well with a reasonably developed character and he sings well too.”
Conclusion: Rediscover Elvis’s Underrated Performance
The Trouble With Girls stands as a testament to what Elvis could achieve on screen when given a substantial role, a decent script, and fitting music. While not searching for a specific “elvis movie trouble song” by that title, viewers will find tracks like Clean Up Your Own Backyard and Swing Down Sweet Chariot deeply embedded in the film’s unique charm and narrative complexities. It captures a different side of Presley, engaged and authentic within a well-realized period setting. If you’ve never seen it, or haven’t revisited it recently, this underrated entry in the Elvis filmography is well worth watching.
