Reviewing Elvis Presley’s “Frankie and Johnny” Film (1966)

“‘Frankie and Johnny’ is a sure-fire boxoffice entry. It’s Elvis all the way in a story built loosely around the classic folk song, coupled with a dozen or so tunes, pretty girls and Technicolor. Frederick de Cordova directed the Edward Small production, which hits the mark as pleasant entertainment, and is certain to be another Presley money-winner.”

So Variety began its March 30, 1966, review of Elvis Presley’s twentieth Hollywood film, Frankie and Johnny. In the era of Presley movie reviews, leading with a prediction of financial success was standard. This acknowledgment of Elvis’s consistent ability to deliver box office returns was genuine and well-deserved praise in an industry where many projects failed.

Filmed at MGM’s Hollywood lot from May 24 to June 23, 1965, Frankie and Johnny was a United Artists production. It marked the first major motion picture starring role for Donna Douglas as Elvis’s love interest. It was also the final film directed by Frederick de Cordova, previously known for directing Ronald Reagan in Bedtime for Bonzo (1952). The film premiered in Baton Rouge, Louisiana, on March 31, 1966.

Elvis Presley and Donna Douglas in a promotional still for the film Frankie and Johnny

Initial Disappointment vs. Recent Appreciation

When I first saw the film as a teenager in 1966, I remember feeling rather dissatisfied. My friends had largely shifted their focus to The Beatles, and I was constantly hoping for the King to respond to the Fab Four’s challenge to his musical throne in his records and films. Frankie and Johnny felt like another disappointment, largely due to its uninspired soundtrack. Elvis singing “Look Out Broadway” and “Down by the Riverside” certainly wasn’t going to win back the fans lost to the Beatles.

However, during a recent viewing over 40 years later, the film seemed more entertaining than I recalled. It starts promisingly, with vibrant costumes and humorous dialogue. Harry Morgan provides a series of punchlines as Elvis’s sidekick, with Presley playing the straight man. Donna Douglas, Nancy Kovak, and Sue Ane Langdon make for an eye-catching trio of beauties.

Elvis Presley candid on set of Frankie and Johnny with cast members

Elvis portrays a character who is a loser at both gambling and love. He was seemingly intended to be a likeable failure, but it’s difficult to fully embrace Johnny with his repeated missteps and deceptions. At 30, Elvis looks his familiar handsome self, though he had clearly gained some weight since Harum Scarum. Unlike in that previous film, Elvis appears to genuinely enjoy himself in Frankie and Johnny. He wins the film’s single fistfight, a scene seemingly included just to continue the custom of featuring at least one brawl in every Presley film.

“Elvis is Elvis,” explained Variety’s reviewer. “He sings and acts, apparently doing both with only slight effort.”

Waning Momentum and Musical Weaknesses

Unfortunately, the film’s second half fails to maintain the initial momentum. Johnny’s repetitive and futile gambling attempts become tedious. The parade sequence places Elvis in an awkward position, both musically and physically. Furthermore, several characters, notably Sue Ane Langdon, seem intoxicated for much of the time. According to Variety, the picture ultimately “proves to be nothing more than an hour and a half romp, providing a showcase for Presley’s songs. He does 12 of them, including the title tune.” For a broader look at his discography, you might be interested in a list of elvis songs in alphabetical order.

The dozen songs featured, a collection of mostly ballads, standards, and period pieces, are generally weak. Exceptions include “Please Don’t Stop Loving Me,” a pleasant ballad, and an uptempo track that Variety‘s reviewer specifically mentioned: “Presley does little hip swinging, no doubt in keeping with the period of the story, although he does get a chance to bounce out one number—‘Shout It Out’—with Dixieland accompaniment.”

Nancy Kovak as Nellie Bly in Elvis Presley's Frankie and Johnny

The “Frankie and Johnny” Production Number

The primary musical highlight of the movie is undeniably the title tune, transformed into a vibrant and entertaining production number. It’s so effective that it’s used twice – once mid-film and again near the end. For more on his overall musical output, explore elvis presley recordings. The second use attempts, for a brief moment, to make the audience believe Johnny has died from a gunshot wound. Of course, this doesn’t work for a second; in a film devoid of any serious moments, who would believe one would suddenly appear at the very end?

Variety’s reviewer also praised the supporting cast and crew:

“Miss Douglas (Frankie) and Miss Kovak (Nellie Bly) endow pic with generous visual attractions, and the love interest for Elvis. Sue Ane Langdon (Mitzi) gets a chance at a number of cute situations as the girl who is always edged out in the romance department. Harry Morgan and Robert Strauss come across well as the piano player and the boss’ stooge respectively. Anthony Eisley is adequate as the riverboat owner.

“De Cordova’s smooth direction, coupled with Grant Whytock’s editing, gives a nice pace to the musical, helping to add to the easy-going relaxing mood of the whole thing. Jacques Marquette’s camera work is good, especially on the Elvis songs and the ‘Frankie and Johnny’ production number.”

Box Office Performance: A Sign of Shifting Tides?

While no more pretentious or less entertaining than the half-dozen Presley films preceding it in the mid-1960s, Frankie and Johnny serves as evidence that Elvis’s drawing power on the marquee was starting to wane by 1966. In 1965, three Presley films (Girl Happy, Roustabout, Tickle Me) ranked within the top 30 on Variety’s list of “Top Rental Pictures,” each grossing over $3 million. By the end of 1966, however, Frankie and Johnny had grossed barely over $2 million, falling to number 47 on Variety’s list. His other two films released that year fared no better. This period contrasts with earlier successful musical films like elvis presley singing blue hawaii. It appeared that even Presley’s dedicated fan base was beginning to tire of the repetitive formula.

Conclusion

In summary, while Frankie and Johnny offered moments of colorful, comedic entertainment, particularly in its first half and the standout title song production number, it also suffered from a repetitive plot and uninspired musical numbers overall. Reviewed initially with praise for its likely financial success, the film ultimately performed below Elvis’s earlier 1960s movies, signaling a potential fatigue with his established film formula among audiences by 1966.

— Alan Hanson | © July 2008