Rock and roll

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.

Entertaining, albeit completely fictional, story about the early days of 'rock'n'roll'. The diaphanous plot finds band manager Steve Hollis (Johnny Johnston) having an musical epiphany while attending a small town dance in 'Strawberry Springs', where the kids are rocking and rolling to local band 'Bill Haley and His Comets'. Recognising the potential of the new sound, Steve plans to take the band to the top but has to contend with conniving agent Corinne Talbot (Alix Talton), who is carrying a torch for him and doesn't want him fraternising with "Young. Fresh." dancer Lisa (Lisa Gaye ). Haley and crew lip-sync a few good tunes including the titular classic, as do the Platters (including the standard "The Great Pretender") and the Bellboys (a somewhat less remembered act). There is lots of hip slang, keen music, a bit of S.E.X., and some crazy dancing (especially by Lisa Gaye and Earl Barton). Good, light-weight fun daddy-o!

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.

Though it wasn't the first film to mention "rock and roll," this is known as the "first real rock film" and it's a mixed bag. Basically it's a vehicle for rock and roll pioneer Bill Haley and his band, The Comets. In the very thin story, two square music managers realize that their old type of traditional dance music is dying out in favor of the latest "rock 'n' roll" fad. When they see Haley and the Comets perform their classic "See You Later Alligator" at a small town dance and witness all the kids dancing up a storm, they decide to try and get this group to play full-time and make it big. The film's not very interesting when it veers away from the music, but along the way we get several more Bill Haley songs (the famous title hit itself, plus "Razzle Dazzle," "Rock Rock Rock" and others), and we're also treated to The Bellboys. But the main attraction is easily The Platters, who expertly perform two of their big hits - "Only You" and "The Great Pretender". The latter is so fabulous it sends chills up the spine. **1/2 out of ****

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.