The first bona-fide rock and roll movie undoubtedly has the look of quick cash-in about it with its formulaic plot, stock characterisations and predictable pauses for musical numbers but it has an identifiable charm about it and at a mere 77 minutes long, certainly doesn't overstay its welcome.
Sure, rock and roll really hit its stride a little later with its more direct progenitors like Elvis, Jerry Lee and Little Richard, all of whom make the line-up here of the Comets, Platters and The Bell-Hops seem somewhat tame by comparison, but there's no denying the vigour and freshness of the music itself, even if portly, kiss-curled Bill looks old enough to be the youngsters' pet uncle.
The Comets' popularity, like their name suggests, came crashing back to earth soon enough with the rise of the Tupelo Mississippi Flash, but their brand of enthusiastic swinging beat music can still set toes tapping and the band members could certainly put on a show. Just a shame that the title song, an epochal record for sure, doesn't even get played in its entirety at the end. The Platters deliver their two lovely hit songs with aplomb and the Bell Hops ably fill the gaps left for teenage energy and enthusiasm. Interesting too, to see celebrated DJ Alan Freed in his element, before the Payola scandal engulfed him.
The background story of competing managers pushing and pulling over the fates of their rock and rolling protégés just about holds together with Jonny Johnson performing well as the Comets' new manager. Maybe if the likes of him had managed Presley things might have turned out differently for the movement's biggest star.
An interesting and enjoyable document of the changing times, especially for the musical numbers with great accompanying dance routines.
Sure, rock and roll really hit its stride a little later with its more direct progenitors like Elvis, Jerry Lee and Little Richard, all of whom make the line-up here of the Comets, Platters and The Bell-Hops seem somewhat tame by comparison, but there's no denying the vigour and freshness of the music itself, even if portly, kiss-curled Bill looks old enough to be the youngsters' pet uncle.
The Comets' popularity, like their name suggests, came crashing back to earth soon enough with the rise of the Tupelo Mississippi Flash, but their brand of enthusiastic swinging beat music can still set toes tapping and the band members could certainly put on a show. Just a shame that the title song, an epochal record for sure, doesn't even get played in its entirety at the end. The Platters deliver their two lovely hit songs with aplomb and the Bell Hops ably fill the gaps left for teenage energy and enthusiasm. Interesting too, to see celebrated DJ Alan Freed in his element, before the Payola scandal engulfed him.
The background story of competing managers pushing and pulling over the fates of their rock and rolling protégés just about holds together with Jonny Johnson performing well as the Comets' new manager. Maybe if the likes of him had managed Presley things might have turned out differently for the movement's biggest star.
An interesting and enjoyable document of the changing times, especially for the musical numbers with great accompanying dance routines.