Actuakers One of my all time favorites.

CommentsXp Best movie ever!

Mandeep Tyson The acting in this movie is really good.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

atlasmb After the Doris Day/Rock Hudson era, America was moving into the era of the psychedelic sixties. Relationships in movies were less about playing the games of the fifties and more about being direct. So, you are more likely to see a woman be the aggressor in the later sixties. The female lead in this movie chases Elvis until he catches her. The dream sequence is less like a Dali painting than those in the fifties and more psychedelic in lighting. Some seem to equate "kooky" with the sixties, perhaps due to the influence of drugs, and that carries through in this plot and the characterization of the female lead. One might call this film a sex farce set midst the California lifestyle.I enjoyed this film. Though the story was silly, the energy of the film was upbeat and fun. The women were beautiful, the music was consequential and Elvis actually seemed to be enjoying himself at times (did you ever notice how he seldom smiles in some of his films?). Yes, there are plenty of cinema clichés and some throwaway scenes, but I enjoyed the kooky chemistry between Elvis and Bernice. Injecting the obligatory Elvis fistfight does not help the story or the pacing, but Elvis manages to move the story along with his personality. See Viva Las Vegas for a film with real magnetism between the stars.

wes-connors After recklessly driving his clean dune buggy through Southern California streets and sand, singing photographer Elvis Presley (as Greg Nolan) meets pleasantly-proportioned Michele Carey (as Bernice) on the shore. The two seem ready to "make love," but Mr. Presley must contend with Ms. Carey's constant companion - a growling Great Dane named "Albert". The dog chases Presley, fully clothed, into the ocean for the remainder of the day and he is taken back to Carey's place with a fever. After several days of nursing from Carey, Presley awakens to discover he has lost his apartment and job...Using the line, "Nolan is here with the truth," Presley finds work taking photographs for Playboy-type Don Porter (as Mike Lansdown) and his straight-laced opposite Rudy Vallee (as Penlow). Since his new employers have offices in the same building, Presley tries to work both jobs at the same time. Hijinks ensue when he continues seeing the eccentric Carey and her friends, including pre-"Bewitched" Dick Sargent (as Harry). The film's highlight is a surreal video made for Presley's lost classic slice of 1960s paranoia "Edge of Reality", and "A Little Less Conversation" / "Almost in Love" is a strong single.**** Live a Little, Love a Little (10/23/68) Norman Taurog ~ Elvis Presley, Michele Carey, Dick Sargent, Rudy Vallee

Dave from Ottawa By this point Elvis, along with most of his fans, had pretty much lost interest in his movie career, and this entry did nothing to revive it. Indeed, Elvis was looking further ahead to his 1968 TV Comeback Special, filmed three months after this item, and perhaps already hoping it would break him out of the stifling quagmire that was his MGM career. He seemed to be pretty much phoning in his role here. Elvis plays a swinging photographer - as always, some vaguely glamorous job, the better to woo ladies - who meets a beautiful young woman at the beach. Over the course of the film he meets her again three times, but in every case she claims to be a different person. Could she really be four different people, or is she, as Elvis asserts, simply "Nuts!"? The implications and complications arising from this very question drive the plot, but not particularly well. This movie, as it turns out is no more clever story-wise or comically than his other MGM output, making the main story device a bit of a waste, especially since it takes almost the first half hour of the movie to set it up.When I first saw the film (I was 12) I was unaware that this movie was supposed to be part of an effort to update Elvis' screen image by having him swear a bit and act a bit more of a Lothario. Honestly, it looked like every other Elvis movie I saw around that time, except the humor seemed a bit trashier and more desperate. When I saw it many years later, knowing more about the movie's context within his career, my initial assessment as an undiscriminating 12 year old Elvis fan was bang on. It really WAS like every other Elvis movie of the late MGM period, but a bit trashier and with fewer songs and the comedy worked no better.Elvis himself looks great - the ravages of his drug abuse and over- eating would not kick in for another five years - and his co-star Michele Carey is gorgeous, a dead ringer for Sharon Tate. Their chemistry is good, but the movie isn't.

MARIO GAUCI A thoroughly bland title hides a surprisingly tolerable and rather effective (if belated) change-of-pace which could well have been advertised as "Elvis goes Screwball". Arguably modeled on the popular series of Rock Hudson-Doris Day romantic comedies, the central situation, in fact, is basically a virtual retread of Howard Hawks' BRINGING UP BABY (1938), with leading lady Michele Carey (from, appropriately enough, Hawks' own EL DORADO [1966]) – playing a ditzy artist/socialite disrupting Elvis' life at every turn; actually, Hawks had recently successfully reworked the formula with Rock Hudson himself in the underrated MAN'S FAVORITE SPORT? (1964) but the best tribute to the 1938 classic would be paid the following decade in Peter Bogdanovich's hilarious, WHAT'S UP, DOC? (1972).Anyway, The King plays a fashion photographer here – not that he's liable to dispel memories of David Hemmings from BLOWUP (1966), you understand! As far as the beachside setting/advertising environment goes, I guess this owes its inspiration to the neglected Tony Curtis/Alexander Mackendrick comedy DON'T MAKE WAVES (1967) but, as I said earlier, for all its derivations, it's not a bad star vehicle at all and Elvis even gets to sing during a lightly surreal dream sequence – with Carey's mastiff assuming human characteristics and acting as his guide! Elvis and the dog have a great rapport, which is just as well since it was his own pet in real life, Brutus! I also liked the fact that the film offers nice supporting parts to two Hollywood veterans – Rudy Vallee (who was a crooner himself and a Preston Sterges regular back in the day) and Don Porter (who is perhaps best-remembered for playing the male lead in the infamous SHE-WOLF OF London [1946]).While this one may be more engaging than most other Elvis vehicles of its time, nowadays the film is perhaps most notable for introducing the unlikeliest of Elvis hits, "A Little Less Conversation", a remixed version of which became a worldwide chart-topper in 2002..after a very disappointing showing in the charts when originally released! Surprisingly enough, Presley only has three songs throughout the film ("Edge of Reality" is another good one) which might disappoint his more hardened fans and indeed have them clamor for "a little less conversation, a little more action please"! For the record, this happened to be the last of 9 Presley films directed by Hollywood veteran Norman Taurog who specialized, appropriately enough, in comedies and musicals having handled in his prime George M. Cohan, Maurice Chevalier, Bing Crosby, Fred Astaire, Mickey Rooney and Judy Garland, Mario Lanza, Dean Martin and Jerry Lewis, etc. – not to mention having been the youngest (and probably most forgotten) of Oscar-winning directors!