Let's Rock

Archaeologists of pop music need to see this film, especially as it was made so early and is specifically about the early days of rock and roll. It was released in 1958, but shot in 1957, and one of the characters in the film says: 'Rock and roll has existed for two years now.' If you have your fast-forward button safely in your hand, so that you can whizz through the appalling ballads of Julius LaRosa and some of the other terrible numbers such as the Tyrones, and some boring parts of the story, this film repays watching. It is chiefly notable for including film of Danny and the Juniors performing the number one hit of 1957, 'At the Hop'. By 1958, kids were no longer using the word 'hop', and were embarrassed by it, because it was 'last year's word', and they didn't wish to be thought to be behind the times. But this song was played for years because it is particularly lively and catchy, and it still figures in the Golden Oldies today. Danny and the Juniors look like awkward bank clerks standing there inert in their suits and ties, singing unconvincingly 'let's go to the hop'. No spangle-wear had yet appeared in pop, at least not in this film. Another famous song in the film, sung by the Royal Teens, is the musically uninteresting 'Short Shorts'. It is sung in a whining monotone, like a group of spoilt brats squawling to mamma that 'we like short shorts', and that is exactly how it was received. At that stage, before drugs had come in, kids thought the most extreme behaviour was for girls to show their legs and whine to their parents about it. Short shorts came out in 1956. I know that because my older Cousin Betty was a model and was on magazine covers in them, and never stopped talking about them. Short shorts were brought back a decade later, at the end of the 1960s, as 'hot pants'. The finest musical number in the film, and the only sophisticated one, is Della Reese singing 'Lonelyville'. She was Nina Simone before Nina Simone was. The story is not as boring as you might imagine for such a cheaply produced kids' picture whose purpose was to promote rock and roll music to 16 year-olds. There are some interesting scenes where the head of a music label lays it on the line to a singer's manager about the economics of pop music, how ballads are out, and says of rock and roll 'this is what the sixteen year-olds are buying' and anybody who won't record it will be 'dropped from the label'. Roy Hamilton, who died tragically aged only 40, is shown in the film recording two songs. He was one of the top singers of those days, with a personality like Harry Belafonte, and a smile always on his face. He had come out of the gospel tradition and had a properly trained voice. Ironically, for the theme of this film, Roy Hamilton was famous for singing ballads, and later singers such as the Righteous Brothers copied him but made an over-the-top pastiche out of his style. Paul Anka is shown aged 16 singing a pop number so badly, one cringes. At that age, every note he sang was out of tune, and he was absolutely terrible. He got it together later. Phyllis Newman is very sweet and fetching in the role of the songwriter girl in the story. Because she has ideas and wants to talk about them, Julius LaRosa can only categorize her as 'a kook'. At that time, girls won't supposed to think. There are some nice location scenes of New York City. The film could be worse, and considering its significance, it is what it is.

Before rock stars went on huge concert tours and before teenagers had enough disposable income to attend such spectacles, Hollywood tried to offer recording stars exposure through cheap movies. LET'S ROCK is typical of the genre--the central idea (that mellow crooner Julius LaRosa could become a rock star) is ludicrous and the acting by LaRosa and Phyllis Newman close to amateur standards. But there are a couple of hits--Danny and The Juniors doing "At the Hop" is the highlight. Every time LaRosa tries to sing, you might as well fast forward. "Rock Around the Clock" remains the best of a bad lot.

This fun little movie has many young singers performing in various scenes and as enjoyable as that is, it's the (all too brief) role of Joy Harmon that makes this film worth watching. What a body! Even though Joy wears a long dress it's still easy to see what a tremendous figure she had. Of course, later in her career viewers could get a better look in films like Village of the Giants and Cool Hand Luke. Everyday I wish that selfish husband of hers (Jeff Gourson of Adam Sandler's production company) would have not convinced her to quit acting. What a shame!

Anyway, everyone enjoy this little film and I promise you won't forget Miss Harmon's unforgettable presence.

A very curious movie. Someone must have made LaRosa and Phyllis Newman an offer they couldn't refuse. Anyone familiar with Julius LaRosa or Phyllis Newman knows that neither was ever an exponent of Rock 'N' Roll, and despite this movie's ending, never did Julie or Phyllis experience such an "epiphany" in their own careers. Ironically, and despite this movie's premise of R&R supplanting MOR (middle-of-the-road) LaRosa's career continues to thrive to this day, long after the vast majority of the R&R artists of the time are either dead or forgotten (or both). The premise that the major labels had set about abandoning MOR artists in favor of R&R during this time is not true at all. In fact, it was 'payola', and the impending scandal over it, that had sustained R&R during this period, and which nearly resulted in R&R's demise upon its revelation, even as MOR artists such as Sinatra, Martin, Como, Doris Day, Peggy Lee, and many others, continued to thrive. It wasn't until the British Invasion of the mid-sixties, which coincided with the "Howdy Doody Generation"'s coming of age, that the major labels, and many radio stations, finally abandoned MOR, thus signaling the beginning of the long downward spiral in pop music culture that continues to this day.

Other reviewers have discussed the music in detail. I would only like to say that there is great swing dancing in this movie. Especially the couple in the center of the screen. Some of their moves were astounding. From today's viewpoint it is ironic that some of the best examples of swing dancing on film is in these late 1950's rock in roll movies. At that time, however, many people thought rock was a new version of swing. About four years later rock went off in another direction, eliminating the saxophone and partner dancing. This, of course, eventually led to a rebellion against rock from 1995 to the present by many people who like to dance with a partner.