Charlie Rogers (Elvis Presley) is a karate-chopping, motorcycle-riding, womanising rock-and-roll singer cruising the highway when grouchy carny boss Joe (Leif Erickson) runs him off the road for making unwanted advances towards his daughter Cathy (Joan Freeman). Carny owner Maggie (Barbara Stanwyck) agrees to pay for the damage to Charlie's bike and guitar, and offers him a job as a roustabout while he waits for repairs to be done.
As the days go by, Charlie continues to pester Cathy, draws in the crowds with his singing, and gets on Joe's nerves even more. A misunderstanding involving a lost wallet causes Charlie to walk out and work for rival showman Harry Carver (Pat Buttram), but when Maggie looks set to lose her livelihood, his conscience gets the better of him...
Under the strict guidance of manager Col. Tom Parker, Elvis appeared in a string of movies between 1956 and 1969, with most of his '60s films being formulaic cash-ins, the producers safe in the knowledge that the King's devoted fans would flock to the theatre regardless of quality. This '64 star-vehicle is one such money-grabbing exercise, a weak romantic drama that relies heavily on its star's charisma and vocal talent. It's a shame then that Presley's character is such a cocky, self-obsessed jerk, and that the songs are so instantly forgettable, making the film a dismal affair despite its vibrant carnival setting.
The most fun to be had from the film is trying to spot Raquel Welch, Teri Garr and Richard 'Jaws' Kiel in early blink-and-you'll-miss-'em uncredited roles.
As the days go by, Charlie continues to pester Cathy, draws in the crowds with his singing, and gets on Joe's nerves even more. A misunderstanding involving a lost wallet causes Charlie to walk out and work for rival showman Harry Carver (Pat Buttram), but when Maggie looks set to lose her livelihood, his conscience gets the better of him...
Under the strict guidance of manager Col. Tom Parker, Elvis appeared in a string of movies between 1956 and 1969, with most of his '60s films being formulaic cash-ins, the producers safe in the knowledge that the King's devoted fans would flock to the theatre regardless of quality. This '64 star-vehicle is one such money-grabbing exercise, a weak romantic drama that relies heavily on its star's charisma and vocal talent. It's a shame then that Presley's character is such a cocky, self-obsessed jerk, and that the songs are so instantly forgettable, making the film a dismal affair despite its vibrant carnival setting.
The most fun to be had from the film is trying to spot Raquel Welch, Teri Garr and Richard 'Jaws' Kiel in early blink-and-you'll-miss-'em uncredited roles.