Außer Rand und Band

What fun to come upon this 1950s gem on cable TV today! At first I thought I was seeing Debra Paget, but it turned out to be her sister, Lisa Gaye, who played a prominent role in this film and demonstrated real dancing skill. This movie is so special, not only because it showcases rock & roll's important early performers, but also its place in musical time -- right at the pop music transition from the big bands to the much smaller combos. In fact, the term "combo" was apparently not in popular use yet. In the film, these small rock & roll bands are referred to as "combinations" of musicians. And the dancing was a joy to watch! Influences from the Big Band era were still strong as couples did variations of swing and jitterbug with the brand new additions of non-touch formula steps that later led to the Twist, the Mashed Potato and all the rest, right up to the present time when almost no one knows how to dance together as a couple. This film should be required viewing for anyone following the history of post-World War II popular music and the end of the big bands.

A lively, but not a factual description of the birth of rock 'n' roll. A couple of small time promoters break away from the big band way of life and stumble across a hot combo that packs a small dance hall.

Johnny Johnston, John Archer, Lisa Gaye and Alan Freed star. On screen musical performances by Bill Haley and his Comets, Freddie Bell and the Bellboys and the Platters make this one of the first feature films that concerns the beginnings of rock 'n' roll.

Enjoyable and fun to revisit. This has earned a cult following status in Europe.

Promoter Steve Hollis (Johnny Johnston) is looking for a new act for teenage audiences. He comes upon Bill Haley and the Comets playing in a small town. They drive the teenagers wild and feature a brother/sister team (Earl Barton/Lisa Gaye) who do some incredible dancing to the music. He signs them up and immediately falls in love with Gaye (and vice versa). However the evil Miss Talbot (Alix Talton) loves Hollis herself. He spurns her so she sets out to to make sure that Haley, the Comets, Gaye and Barton can't get a job.

Really silly stuff with lousy dialogue chockful of 50s slang that just sounds ridiculous now. Everybody is so polite and nice to each other--even the "evil" schemes of Talbot are pretty mild. Also Johnston and Gaye fall in love in seconds! It's pretty creepy though--Johnston is easily old enough to be her father! None of this matters though. This shows Bill Hlaey and the Comets and the Platters performing and that alone makes this a valuable time capsule of the 1950s when rock and roll was starting to get popular. The groups ARE lip syncing to their songs (and pretty badly in the case of The Platters) but still... When the Platters sang "Only You" and "The Great pretender" this movie is just magic. The acting is pretty terrible (Bill Haley especially) but the songs are good, the movie is short and the dance routines between Barton and Gaye are really pretty impressive. Hard to believe that this was banned in some cities in the US when it first came out. In other cases some theatre owners told the projectionist to cut the sound when the music numbers came on! Check out the ending which says "The Living End"! Harmless and kind of fun. I give it a 6.

Journeyman director Fred Sears (also an actor in many films--I remember him from Charles Starrett westerns) was a good choice to direct this low-budget Sam Katzman-produced quickie, meant to cash in on the rock'n'roll fad and the celebrity of Bill Haley and His Comets. Sears gets right down to business and features the music throughout--with wonderful (mostly) mimed performances by Bill Haley of his classic early Decca recordings, which still rock out today. Also seen are the pioneering lounge-rocknroll band Freddie Bell and His Bellboys, who were fine entertainers in the Louis Prima vein and who provided Elvis with Hound Dog. A plot is woven into the film here and there to keep things moving, but the emphasis is on the music. Haley's friendly persona comes across well in his limited dialogue scenes, and the other characters in his band, such as sax player Rudy Pompilli, are quite animated, capturing a bit of what his live shows must have been like (probably much wilder than this film). Alan Freed also appears and is worked into the plot, and the Platters sing their two biggest hits. All together, it's an excellent time capsule into the early days of rock'n'roll, and it's a wonderful showcase for the great Bill Haley, who still has not received his due as a music pioneer. It's easy to see why the film caused riots when shown overseas. Don't miss it if you like Haley, Freed, and the glory days of rocknroll.

Band leader Steve Hollis sees the end of the big band era. He decides to head off to New York and bassist Corny LaSalle joins him. Along the way, they encounter young kids heading to a Saturday night dance. Steve is intrigued and finds them dancing to the new Rock N Roll with Bill Haley & His Comets. He signs up the band and dancer Lisa Johns. He sweet talks high powered agent Corinne Talbot but she rejects the new sound for personal reasons.

This is one of the first Rock N Roll films. It's the start of a new subgenre. Certainly, this is dated to some extend especially the dialogue. The premise is simplistic. It turns into a woman scorned story. One can't expect it to be ground breaking in every way. It's enough to have The Platters perform on the same stage as other non-black performers. It's good enough to be good enough. The music is great and iconic performed by the real bands. Everything else is filler and they are functional in that light. It's a solid start of this sub-genre and a great slice of music history.