page_title: King Creole
section_title: Reception
hierarchical_section_title: King Creole / Reception
caption_attribution_description: English: Modern Screen, August 1958
context_page_description: King Creole is a 1958 American musical drama film directed by Michael Curtiz. Produced by Hal B. Wallis, the film stars Elvis Presley, Carolyn Jones and Walter Matthau. It is based on the 1952 novel A Stone for Danny Fisher by Harold Robbins, about a nineteen-year-old who gets mixed up with crooks and involved with two women.
  Presley later indicated that of all the characters he portrayed throughout his acting career, the role of Danny Fisher in King Creole was his favorite. To make the film, Presley was granted a 60-day deferment from January to March 1958 for beginning his military service. Location shooting in New Orleans was delayed several times by crowds of fans attracted by the stars, particularly Presley.
  The film was released by Paramount Pictures on July 2, 1958, to both critical and commercial success. The critics were unanimous in their praise of Presley's performance. King Creole peaked at number five on the Variety box office earnings charts.
context_section_description: The film was first shown at Loew's State Theater in New York City on July 2, 1958.  During the opening week, it ranked number five in box office earnings on the Variety national survey. Billboard wrote:
  Elvis Presley's new film shapes up as a box-office winner. It's got plenty of action and characterisation and the star gives his best acting performance to date ... (the) Incidents and characters of the original novel are distorted, but the plot stands up well and the dialog is salty and emotion-packed. As Danny, Presley exhibits improved histrionics and provides many moving and tense moments. Carolyn Jones is a knockout as a fallen thrush who would like to love him; their aborted romance gives the pic its finest scenes.
  Variety declared that the film "Shows the young star [Presley] as a better than fair actor". The New York Times also gave a favorable review:
  Mr. Curtiz and his players have got it snugly draped around Mr. Presley's shoulders. And there it stays, until a limp melodramatic home stretch, even with eight or so of those twitching, gyrating musical interludes. ... These also perfectly typify the Bourbon Street honky-tonks that Mr. Curtiz and his fine photographer, Russ Harlan, have beguilingly drenched with atmosphere. Matching, or balancing, the tunes are at least seven characterizations that supply the real backbone and tell the story of the picture. ... for Mr. Presley, in his third screen attempt, it's a pleasure to find him up to a little more than Bourbon Street shoutin' and wigglin'. Acting is his assignment in this shrewdly upholstered showcase, and he does it, so help us over a picket fence.
  The Spectator, however, criticized the relationship of Presley's character with his love interests:
  The girls in his (Michael Curtiz's) latest film, King Creole, are both played by good, serious actresses: Carolyn Jones .. and Dolores Hart, ... both are shown to be hungrily, desperately, unpridefully in love with him (Presley's character). They have no existence, except in him; do nothing but wait for him; hope for nothing but a little rough affection ... Instead of being kissed, they beg for kisses, which Mr. Presley sulkily and reluctantly hands out now and then, with the air of a small, fastidious boy being press to eat marshmallow and, though he feels a bit sick not quite knowing how to get out of it ... (it) really seems to suggest this is a god come down among us for a spell; and when tender and infinitely patient in spite of the long past of infidelity, nonchalance, and what looks to an observer like plain indifference from him, her lips poised for the kiss that doesn't come ... As the most extreme example of a contemporary idol, Mr. Presley is pretty fascinating, and, though you may be put off at first by his pale, puffy, bruised looking babyish face, by the weary cherubic decadence you might imagine in Nero, and the excessive greasiness of his excessively long, spiky locks, his films, however bad (and King Creole is pretty low on his list), are well worth taking a look at.
  About Presley's performance, Down Beat wrote: "Let it be noted that Elvis Presley's latest, King Creole, is his best picture thus far--comparatively speaking, of course. Maybe about 10 more films (and as many drama coaches) from now Elvis might begin to get an inkling of what acting's all about." TV-Radio Mirror magazine praised Presley's acting over his past roles: "Elvis Presley does his strongest acting job so far. Two years ago, Presley on the screen was a laughing stock.  But nobody is laughing now". Meanwhile, The Monthly Film Bulletin criticized the violence depicted in the film and rated the movie a III, denoting poor, stating, "This entangled series of cliches, each with more unlikely motivation than the last, provides the most unattractive Presley vehicle so far. His numbers only offer intermittent relief from the calculated violence and viciousness, and he can do little to balance the disagreeable movie".
  Commonweal lamented the lack of punishment to the main character for his actions, but praised the director for his influen
caption: Advertisement in Modern Screen (Aug 1958)
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