Download The Elvis Movies, by James L. Neibaur
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The Elvis Movies, by James L. Neibaur
Download The Elvis Movies, by James L. Neibaur
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Review
Neibaur reveals a side of Elvis Presley’s career that is often overlooked, and does so in a way that is sure to change the mind of anyone who dismisses it as unimportant in film history. This book, with its numerous interviews, behind-the-scenes info, and Neibaur’s added insight, will both inform and delight both longtime Elvis fans and those who are only just discovering his brilliance. (Examiner.com)Neibaurs book is well written. . . .[H]e makes the history of Elvis Presley's film career comprehensible. . . .A very readable book, a wonderful addition to the other, is very recent publications on the film career of Elvis Presley. (The Memphis Flash)Throughout the 1950s and 1960s Elvis Presley starred in over thirty movies with most dismissed as lighthearted vehicles to help sell the accompanying soundtrack albums. . . .However, they were a major part of Elvis' career and have often been overlooked in print with very few books examining his movie career. Fortunately that has now been corrected with the publication of James L. Neibaur’s latest book, The Elvis Movies. Neibaur, a film historian, is well qualified to write such a book as his previous work has included studies of Charlie Chaplin, Buster Keaton and Harry Langdon, among others. In The Elvis Movies he offers in-depth and critical discussions about each movie starting with Love Me Tender in 1956 and ending with Change Of Habit in 1969. . . .Besides the details of each film (producers, directors, actors, actresses, songs, box office gross etc) Neibaur examines the impact the movies had on Elvis’s career and popular culture at the time. By including chapters on The Rise of Elvis Presley, Elvis In The Army, The Comeback Special and The Final Years Neibaur also tracks the evolution of Elvis’s career and personal life. The book is also illustrated with movie stills, posters and trade ads which help illustrate the story. . . .The Elvis Movies reveals an often overlooked aspect of Elvis Presley’s career in a way that should change the mind of those who dismiss it as unimportant in the history of film and is highly recommended. (Peter Lewry - Official Blog)
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About the Author
James L. Neibaur is a film historian and educator who has written hundreds of articles, including more than forty essays in the Encyclopedia Britannica. He is the author of several books on film, including The Fall of Buster Keaton (2010), Chaplin at Keystone (2012), The Silent Films of Harry Langdon (2012), and The Charley Chase Talkies (2013), and coauthor with Terri Niemi of Buster Keaton's Silent Shorts: 1920-1923 (2013), all published by Scarecrow Press.
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Product details
Hardcover: 296 pages
Publisher: Rowman & Littlefield Publishers (April 4, 2014)
Language: English
ISBN-10: 1442230738
ISBN-13: 978-1442230736
Product Dimensions:
6.3 x 1 x 9.3 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review:
4.2 out of 5 stars
8 customer reviews
Amazon Best Sellers Rank:
#1,557,010 in Books (See Top 100 in Books)
In this book, author James L. Neibaur provides a well researched discussion of all the Elvis Presley films. You get production background facts, date released, director, actors, length, cost, songs and how the soundtrack recording charted. The bulk of each chapter (one per film) covers the plot and the author’s opinion of the final product. I doubt that everyone will agree with all of Mr. Neibaur’s comments, but I felt that the author was on target with most of them. I was looking for a book that would do more than just give me a one paragraph summary of the story line and so was pleased by the depth and length of the plot discussions. A welcome surprise is a list of the songs in each film shown in the order they were performed (it is too bad that some of this information is wrong). In most cases, the soundtrack records have the songs out of order. I have no idea why RCA thought this was a better idea. Since the songs flow with the storyline, it seems that the record releases should mirror that same concept. Some songs were not found on a soundtrack album because they were performed by another artist in the film. The author also includes these titles in his music lists.A small negative is that while the author gives us a lengthy list of the actors, he only shows the names of the major characters in each film. I have always found it interesting to learn which supporting parts were given to some of Elvis’s buddies. The other missing, for some fans, is the lack of color pictures.Highly recommended for anyone who has an interest in these films even though there are some errors in the book.
I'll admit I'm a die hard Elvis fan and was interested in getting this book as it seemed like it'd have some behind the scene stories and people who worked with Elvis. It had some but not enough, and it was mostly a critical assessment of Elvis's movies. Some, the author liked and some, he did not like. I was hoping that for the price, it was a more detailed book but it just didn't live up to my hopes.It had some errors, such as saying Sonny and Red West were brothers, although any serious Elvis fan knows they were cousins. He credits British songwriters Chris Arnold, David Martin and Geoff Morrow with writing the "Clambake" song "A House That Has Everything," which was written by Sid Tepper and Roy C. Bennett. Arnold, Martin and Morrow would write a few songs for Elvis's 1969 recording sessions at American and again for his 1973 sessions at Stax, but they did not enter the Elvis world until two years after "Clambake."Likewise, he ascribes all the Elvis songs for the "Speedway" album to Mel Glazer and Stephen Schlaks, although they only wrote the title song. The rest of the "Speedway" songs were supplied by Elvis's usual stable of writers including Tepper and Bennett, Ben Weisman and Sid Wayne, and Joy Byers, wife of producer and songwriter Bob Johnston, who claimed he really wrote the songs credited to his wife, reason he belonged to one licensing organization, whereas Elvis's music publishing was through a rival licensing agency. (Never mind the fact Elvis actually owned a music publishing firm that was licensed as well by the agency that Johnston was a member of, meaning there wouldn't have been a conflict.) Only one of the last four songs that made up the "Speedway" album was intended for the movie. The remaining three included an outtake from what is now know as "The Lost Album," the song "Goin' Home," written by Joy Byers for "Stay Away, Joe," but not used in the movie. And "Suppose," one of Elvis's most affecting recordings, not written for any of the movies but a song recorded in 1967 possibly for a non-soundtrack album that was derailed by Presley's manager. The song was written by George Goehring and Sylvia Dee, who had also written Skeeter Davis's pop-country classic "The End of the World." That song was written by Dee about the loss of her father and was and remains a devastating work. "Suppose" is no less devastating and is even believed by some to have inspired John Lennon to write "Imagine." The error on songwriting credits also misses a minor hit for Al Kasha and Joel Hirschhorn. If those names don't sound familiar, they are the writers of the song "The Morning After," which was from the movie "The Poseidon Adventure" and was a hit for Maureen McGovern. For "Speedway," Kasha and Hirschhorn wrote the song "Your Time Hasn't Come Yet Baby," and it was their only song recorded by Elvis. Neibaur also loses a point with for not pointing out that actor Norman Rossington, who was in Elvis's movie "Double Trouble," was also the only actor to work in an Elvis movie who also worked in a Beatles movie. Norman played the Beatles's harried manager in "A Hard Day's Night," a role in which he did so well, one could actually believe he was their manager! He also loses another point for not mentioning that Elvis specifically asked for actor Burgess Meredith to work with him in "Stay Away, Joe," which isn't as bad as Neibaur makes it.One shouldn't make errors of this nature, especially since this seems to be a more serious book about Elvis's movies. Most of Elvis's movies were nowhere near as bad as some of the critics made them out to be, although granted, some of the movies and the songs, could've been better. I was hoping there would've been a light shed on some of the movies which ended up different to what was originally intended, lighter as it were. "Roustabout," for instance, was said to have been a much darker movie that had been planned since 1960 and before Elvis was involved. Elvis likely would've preferred the original version to the version he filmed. Even so, there were some dark scenes in "Roustabout," such as likable Joe (Leif Erickson) who tries to commit vehicular homicide on Elvis just for looking at and talking to his daughter (Joan Freeman) when they have their first meeting on the highway. The carnies didn't seem like nice people away from the civilians. That was a story worth focusing on. Maybe the dark side was a little too close to Parker personally. Another mystery that was worth exploring was what happened to actor Ed Faulkner in the movie "Easy Come, Easy Go?" What? You didn't see him? Watch the opening as Elvis sings the movie's title song. Faulkner is sitting in the boat with Elvis and "singing" the song. Afterwards, he disappears."The Elvis Movies" is not a bad book but neither is it a great book. It's like a lot of things about Elvis. It leaves you wanting to know more, and as we get further and further away from the people who worked with and knew Elvis, worked in the recording studio or in the movie studio with him, the less we'll have to know about those ventures and what they could've told us. And that is a loss no one can afford.UPDATING MY ORIGINAL REVIEW: When I wrote the above review, I was too harsh in rating it two stars. It had some errors, which I note above but I also made a couple of mistakes which Mr. Neibaur kindly pointed out to me. He correctly pointed out actor Ed Faulkner was not in "Easy Come, Easy Go," which I thought he was, although he isn't in it at all. Likewise, he mentioned there was some detail about the original script for "Roustabout" that I missed, and again, I contritely apologize to him for that. But, I still stand by comments on the songwriter errors and Sonny and Red being brothers instead of cousins. Even so, the book deserves a better rating than I gave it originally and I'm now changing that to four stars. There was more I wish could've been added but as I said, this book leaves you wanting to know more about that part of Elvis' life and career. Elvis' movie career could've been and should've been better but some of the movies there are have been unfairly maligned. Only a handful were truly bad, most were enjoyable. I'm leaving the original review as it was written but I do endorse this book, despite what occasional errors there are. The errors are not that major and I should've been more fair in my review.
More detailed info about his movies for the serious Elvis fan. Not really recommended for the casual fan.
Extremely disappointed with the quality of the paper and that all photos are in black and white.
For some, the King of Rock and Roll’s celluloid exploits fall into two categories: JAILHOUSE ROCK and Every Other Elvis Picture. But this flip assessment isn’t accurate or fair, as Jim Neibaur’s THE ELVIS MOVIES goes to great lengths to illustrate. Granted, there is an inescapable sense of squandered potential that permeates formula affairs like HARUM SCARUM and STAY AWAY, JOE. Yet there’s much to admire and enjoy in FLAMING STAR, KING CREOLE, JAILHOUSE ROCK, VIVA LAS VEGAS, LOVING YOU and others.For those who might question whether Elvis’ filmography worthy of a book-length study, the answer is yes. Even the weakest efforts reveal a lot about how a “commodity†like Elvis was molded and marketed for consumption by the general public. By closely examing each film in chronological order, Neibaur underscores how Presley’s desire to grow as an actor and artist was thwarted by the success of his lighter “make ’em fast, make ’em cheap†fare. G.I. BLUES, for example, made more money than the superior if atypical FLAMING STAR.Providing plenty of production data, quotes from associates, and critical evaluations, THE ELVIS MOVIES does an excellent job of examining the peaks and valleys that constituted Presley’s film career. And despite popular consensus, there were definite peaks. While Elvis certainly had his share of clinkers, his best movies showcase his magnetic talent, evidence why he was (and continues to be) a revered, iconic entertainer.
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