Hear Elvis say "bikkies" (a kick for me, as one who grew up with that contraction of "biscuits," in America known as cookies), see Elvis lay his kenpo down on a bad guy who dies as a result, see Elvis drive a VW bug, witness Elvis smash windows, marvel at Elvis in a mustache and glasses mask, and watch him beat up a beautiful woman! Those are some of the highlights, anyway. In truth, this film is among my very least favorite of Elvis films, even judging by the somewhat unique standards of the '60s travelogue Technicolor musicals that became the standard by 1962. The formula had worn thin by 1965 ("Frankie And Johnnie," "Harum Scarum," "Paradise, Hawaiian Style"), to say the least, and -- other than some bright points in "Spinout" and the entirety of "Easy Come, Easy Go" (like "Double Trouble," shot in 1966...for some reason, I like that crazy film) -- nothing got better, in my opinion, until the formula changed radically with 1968's "Stay Away, Joe" and "Live A Little, Love A Little."
The period 1965-1967 was Elvis' nadir, in other words, though the May, 1966 Nashville sessions (that yielded the immaculate "How Great Thou Art" gospel album and a few stellar secular songs, including a definitive take on one of Bob Dylan's songs) and recently-surfaced home recordings from that period show all too well how phenomenal Elvis' talent was at the time, a contrast that would anger and frustrate anyone who cared about his place in American and world culture and history. But we have what we have, and the criminal waste of talent that to a great extent represented Elvis' film career during this time is undeniable but shouldn't necessarily result in us writing off the results out of hand for that reason alone. There are a few moments in this film that are good, and a few when Elvis seems to actually be engaged rather than bored with the whole proceedings and just sleepwalking through it to fulfill contractual obligations.
There're some great actors in supporting roles, too, like Leon Askin (General Burkhalter!), Chips Rafferty, John Williams, Norman Rossington (the only actor to appear in films with the Beatles and Elvis), and Michael Murphy. Annette Day is kind of lackluster in the lead female role. Yvonne Romain is much more like it. And the Wiere Brothers have always irritated the hell out of me in this film -- wish they were not in it, because they really stupid things up.
The songs are not the greatest even compared to other songs from Elvis movies of this time, but I do like the title track, "Long Legged Girl" (a tasty song, actually, written by Joy Byers, who usually contributed great songs even to otherwise not-so-great movies, such as "Let Yourself Go" in "Speedway"), and the jazzy "City By Night." "Could I Fall In Love" is a nice ballad, a duet of Elvis with Elvis, but the entire June, 1966 session for this movie suffered from sonic problems and I believe it's one that Elvis complained vociferously about. I also believe that Elvis walked out on recording "Old McDonald" before he'd produced an acceptable master take, being totally disgusted by the task, and the master was spliced from what the engineers had captured. Not his greatest recorded moment, anyway. And, darn it, it (and the rest of the soundtrack) was recorded on my second birthday.
IMDb mixes up the screen character credits for Chips Rafferty and Norman Rossington but, to be fair, so does the end title sequence in the film. Oops.
The period 1965-1967 was Elvis' nadir, in other words, though the May, 1966 Nashville sessions (that yielded the immaculate "How Great Thou Art" gospel album and a few stellar secular songs, including a definitive take on one of Bob Dylan's songs) and recently-surfaced home recordings from that period show all too well how phenomenal Elvis' talent was at the time, a contrast that would anger and frustrate anyone who cared about his place in American and world culture and history. But we have what we have, and the criminal waste of talent that to a great extent represented Elvis' film career during this time is undeniable but shouldn't necessarily result in us writing off the results out of hand for that reason alone. There are a few moments in this film that are good, and a few when Elvis seems to actually be engaged rather than bored with the whole proceedings and just sleepwalking through it to fulfill contractual obligations.
There're some great actors in supporting roles, too, like Leon Askin (General Burkhalter!), Chips Rafferty, John Williams, Norman Rossington (the only actor to appear in films with the Beatles and Elvis), and Michael Murphy. Annette Day is kind of lackluster in the lead female role. Yvonne Romain is much more like it. And the Wiere Brothers have always irritated the hell out of me in this film -- wish they were not in it, because they really stupid things up.
The songs are not the greatest even compared to other songs from Elvis movies of this time, but I do like the title track, "Long Legged Girl" (a tasty song, actually, written by Joy Byers, who usually contributed great songs even to otherwise not-so-great movies, such as "Let Yourself Go" in "Speedway"), and the jazzy "City By Night." "Could I Fall In Love" is a nice ballad, a duet of Elvis with Elvis, but the entire June, 1966 session for this movie suffered from sonic problems and I believe it's one that Elvis complained vociferously about. I also believe that Elvis walked out on recording "Old McDonald" before he'd produced an acceptable master take, being totally disgusted by the task, and the master was spliced from what the engineers had captured. Not his greatest recorded moment, anyway. And, darn it, it (and the rest of the soundtrack) was recorded on my second birthday.
IMDb mixes up the screen character credits for Chips Rafferty and Norman Rossington but, to be fair, so does the end title sequence in the film. Oops.