Tickle Me

Although the Elvis formula films were pretty much the same when they were released, two factors made some significantly more appealing and memorable than others; the actress playing his love interest and the songs that were incorporated into the production.

A third variable, more important 40 years later, is how well each film has held up. Generally the less exotic the setting and the further Elvis is from an ocean, the better they have aged. In this regard "Tickle Me" benefits from its desert ranch and western Ghost Town sets-nothing elaborate and the only water is a rain storm.

And while the song selection in "Tickle Me" is nothing to get excited about, the leading lady is spectacular. Whenever Elvis movies come up in conversation you will find someone asking which one showcased Jocelyn Lane as an exercise instructor, then they get this far away look in their eyes and a dreamy expression on their face.

Lane makes "Tickle Me" the most memorable of the Elvis films for male viewers. I would rank it second, edged out slightly by "Viva Las Vegas" which not only has Ann Margret but a great song selection.

Elvis Presley plays the Panhandle Kid, staying busy at a female dude ranch pitching hay, checking out the gamms on the girls while they're exercising, arguing with his female boss (who can't keep her hands off him!) and, of course, singing whenever the movie's pace needs a boost. In an outrageous but silly/enjoyable plot twist, it turns out one of the young ladies is involved with villains who are after her hidden treasure. All this leads Elvis to a ghost town where the bad guys dress up like ghouls and try to scare the sideburns off him. A brainless hoedown with an array of songs from the vault, "Tickle Me" served as Presley's IRS tax-bill movie and he's barely in character. Jocelyn Lane is a sexy cowgirl, while the haunted house finale is something new for a Presley picture. ** from ****

In Tickle Me (easily one of the great titles of Elvis' illustrious screen career), the King plays -- brace yourself -- a singing rodeo cowboy with a lucrative second job as a handyman at a beauty spa. Naturally, all of the women at the ranch compete for E's attentions, but he's only got eyes for the stunning Jocelyn Lane. The second half of the film gets supremely silly, as the lovers search for a hidden treasure of gold in a haunted house. The horrifyingly awful gags that accompany the climactic sequence belong in a Scooby Doo episode, but are more accurately akin to the Three Stooges -- since writers Elwood Ullman and Edward Bernds had put in time for the eye-gouging, hair-pulling, face-slapping nitwits. Tickle Me has a weird appeal to me, however, as it allows Elvis the opportunity to show off his talent for comedy (an under-appreciated aspect of his acting for which he shows remarkable aptitude).

This movie was Elvis Presley's funniest movie. It's almost Elvis in slapstick. This movie didn't make much sense, but it wasn't supposed to. It was pretty obvious that Elvis enjoyed making this movie. Even though the supporting cast wasn't particularly strong, this movie makes up for it with all the crazy antics in the film.

More astonishing than the script for the final 2 reels in the haunted house part of TICKLE ME is the real life fright (to us 40 years later) is the phenomenal success of this Allied Artists film. In Sydney alone TICKLE ME opened at the massive, gorgeous treasure chest State Theatre and filled all 2500 seats for an unprecedented run of 8 weeks. Built in 1929 as a luxury outlet and famed for its Astaire Rogers runs in the 30s, and the Sinatra runs of the 50s, nothing but nothing topped Elvis there in 1965. Even when his films played other major luxury palaces in Sydney before and after TICKLE ME was the winner. As flabbergasted as I am to realize that success was repeated in city after city in every country it played, NOW I realize how well this film saved Allied Artists. This was their last production until 1969. They concentrated on releasing Euro dramas like A MAN AND A WOMAN and in the 70s were responsible for CABARET and PAPILLON. If the rentals in 1965 in the US alone were $3m then you can double that from the rest of the international ticket sales: $6m from a $1.4m investment. They weren't Monogram Pictures once for nothing, were they!