User Reviews

Viva Las Vegas is a highly entertaining and lively film, sparked by the chemistry of its two gorgeous stars, Elvis Presley and Ann-Margret. When Ann-Margret appeared on Larry King last year, King kept bringing up Elvis, but she wasn't about to talk about him. They were certainly a hot couple, and if they were crazy about each other, which reportedly they were, who can blame them? There is absolutely nothing special about the story, but the movie has some delightful musical numbers, including the title song - which has become part of the popular culture as it personifies everything Vegas.

Colonel Parker wasn't happy about Viva Las Vegas because he felt that Ann-Margret was getting too many closeups in an Elvis Presley film. But without her sexy presence, the film would have lacked a lot of its energy. Elvis was unhappy making this kind of movie, and I imagine he was more willing to go to work with Ann-Margret on the set. It's fun to see them so young and beautiful, and having fun.

I used to not be a big fan of Elvis movies. For all of his talent with a song, his films (with a few exceptions) were basically all the same formula: a crooning playboy situated in (exotic location of your choice), with any number of young, excited women waiting in the wings. But in "VLV" he has a more independent-than-usual female co-star (the stunningly beautiful Ann-Margret), who not only matches him in sex appeal, but who forces him to fight for her affection. It's a wonderful match of wits, from the first number, "The Lady Loves Me." They are both marvelous as they each musically bait the other, right up until he takes a header into a swimming pool. (In subsequent scenes they water ski, have a western-style showdown, tour Vegas in a helicopter, and dance in a gymnasium.) Later, when they both compete in the same talent show, A-M gives Elvis a run for his money with her hotter-than-hot striptease "Appreciation." It's perfect that the final shot in the movie is a split-screen of the title song sung (by him) and danced (by her). If no one knew that they were having a romance in real life; they'd figure it out from the chemistry generated in this film. This one and "G.I. Blues" (which features another independent co-star) are my favorites.

I love this film! Actually, every time that I see it I like it more. I'm biased, of course, being an Elvis fan (hey, isn't everyone?...if you're not, you should give it a try), but it's still an entertaining way to spend a while. The film's not based on the strongest storyline ever created and it relies on the chemistry between foxy mamacita Ann Margret and the King himself, and that's more than enough. The two had some intense off-screen things going on, too, and perhaps that helps the movie. Both Elvis and Ann Margret look great and they trade lines perfectly. Elvis is more engaged in this film than he had been in any since 1961 and the result's one that he could have been proud of. The shame is that the glossy musical formula than began with 1960's "GI Blues" became an endless rerun throughout Elvis' '60s Hollywood career, but "Viva Las Vegas" is perhaps the highlight of these musicals. Perhaps it's no coincidence that this film has less singing than the ones before and after, the songs all fitting well within the plot. The songs are also among the strongest of Elvis' '60s soundtrack offerings -- pretty much all of them are great tunes. This was most definitely not the case even in earlier films and would progressively become less the norm in subsequent years. The cinematography is also first-rate, as are lighting and transitions -- all of the things that add up to 'production value.' Lush colors and effective use of scenery -- natural and manmade -- included. This is obvious right from the opening credits and is stunningly apparent in the musical numbers. It really looks like a lot of thought went into how the songs were staged, lit, and filmed and that alone is a departure from Elvis' norm. Even most of the other of the better '60s films just stick Elvis up there, singing, while they roll film. Not a lot of imagination very evident in that approach. Check out the great presentation work on songs like "C'mon Everybody" and "What'd I Say," as well as the classic "Viva Las Vegas" talent-contest scene and the perfectly-executed "I Need Somebody To Lean On" scene in which onscreen Elvis is double-tracked with a melancholy inner-voice Elvis. Great stuff.

The film's -- to me -- probably the most entertaining and enjoyable of any of Elvis' '60s musicals. In that category I include most of the films that Elvis shot during the '60s except for the two dramas of 1960 ("Flaming Star" being a particularly excellent film), the two song-sparse movies of 1961 ("Kid Galahad" and the great "Follow That Dream"), and some of the late '60s movies that included only one or a few token songs and had stronger storylines ("Live A Little, Love A Little," "Stay Away, Joe," "Charro!," "The Trouble With Girls," and "Change Of Habit"). Actually, "Viva Las Vegas" is even more enjoyable than most of these ones, too.

Among the supporting actors are Cesare Danova, a beatnik-y Nicky Blair, and William Demarest (Uncle Charlie from "My Three Sons"!), all of whom do a great job. Sharp eyes might also catch Terri Garr, especially in the "C'mon Everybody" scene, though she's in at least one or two others in the film. Red West, Elvis' bodyguard (he also wrote a song -- "If You Think I Don't Need You" -- used in this film) is an extra in the scene that included a bunch of Texas rowdies. Lance Le Gault (a blues singer and Elvis' double in '60s films, inadvertently seen in "Kissin' Cousins" and on full display as a tambourine-player in Elvis' sensational leather-clad 1968 'comeback' shows...he was also Colonel Decker on TV's "The A Team") plays a waiter who, ironically enough, is mistaken for Elvis by Ann Margret's character.

But yeah, when it comes down to it this is a film that succeeds primarily on the strengths of its male and female leads. Some great work by supporting actors doesn't hurt, but Elvis seems inspired to do a good job of acting -- not the walk-through that was becoming increasingly tempting in the face of uninspiring and mediocre storylines and production staff and accountants who didn't care about quality as long as the film was completed on time and on budget to result in the predictable crazy profits that Elvis movies generated in the first half of the '60s. The scene with Elvis waiting on the Count and Rusty exploits Elvis' comedic talents and was a nice touch. I'm surprised, really, that the pairing of Elvis and Ann Margret was never attempted again. They could've done "Grease" in '68!

The film also accomplishes its travelogue role and both it and the title song have become inextricably linked with that desert city. For those of us who have only visited Vegas in more recent years, and to those who remember it as it was in the summer of 1963, this film is a handy time capsule to the Vegas of yore. It was a kick for me to see Elvis and Ann Margret at the Sahara's camel statues because I had my picture taken there, atop one of the camels, back in the '80s (without realizing that it had such a direct Elvis connection). Cool!

All in all, if you haven't yet seen this film you might just enjoy it. It's not going to change your life (then again...who knows?) and it's not "Citizen Kane" (it's a lot more fun, though), but it's a classic of its kind. Scratch that -- it's just a classic. Unfortunately, a couple of months after wrapping "Viva Las Vegas" Elvis began production of "Kissin' Cousins," a film from producer Sam Katzman ("King of the Quickies") that was as cheap and nasty as they come and that showed the way to even greater profit (but at what cost?).

I am might be one of those rare breeds that prefer the lighter fare of Elvis films rather than his earlier and dramatic output. And this one is a great example of that fun film with plenty of songs and hip swinging and girls. The inclusion of the exquisite Ann Magaret increases the fun, has a great chemistry with the king and can sing just as good. The plot is smooth, well paced and your time goes past agreeably.it's a feel-good mind candy film, the kind that makes you feel good, and forget your troubles.

Arguably the best of the standard Elvis Presley travelogue confections that comprised the majority of the films in his screen career, Viva Las Vegas succeeds largely due to the chemistry shared between E and sexy inferno Ann-Margret. Sporting the impossibly comic-book perfect names Lucky Jackson and Rusty Martin, the two stars forge a romance against the backdrop of the Vegas Grand Prix, which Elvis, naturally intends on winning. Typical Elvis movie values like achievement through hard work (E must slave away as a lowly hotel employee in order to raise enough cash to fix his racer) and plucky perseverance don't detract from the colorful widescreen photography and a number of fun songs, like "The Lady Loves Me," "C'mon Everybody," "I Need Somebody to Lean On," and the memorable title tune.

Elvis Presley as a Las Vegas auto enthusiast who has to choose between racing his roadster or chasing Ann-Margret, playing a curvy hotel pool manager who usually has the day off. Not a total success for the stars--the script is heavy with talk, and there's an uncomfortable scene early on where Elvis lies to A-M about her car problems just to keep her around. I don't know WHY Presley is forced to sing "The Yellow Rose Of Texas" in a musical set in Nevada, but nevertheless, it's a friendly-enough frolic, and it certainly looks good. The dancing is hot, and Elvis and Ann-Margret seem so right together. Sure it's campy, and the whole business with him buying her a tree because she longs for suburbia defies explanation, but it's an idealistic, happily-ever-after fantasy. *** from ****

Although my own personal favorite Elvis film is "Tickle Me" (1965), "Viva Las Vegas" is the last remotely classy film he made and his best musical in years. The Las Vegas locale enabled M-G-M to put in some rock songs--and Ann-Margret (a cross between Marilyn and Madonna) whose image is similar to Elvis's, was a definite plus. The film was even more successful than "Blue Hawaii" (1961)--Presley's biggest hit to date. They took their time shooting it, the songs are well showcased and Elvis and the sexy Ann-Margret form the most attractive twosome in years. It's even quite possible that the challenging Miss Margret briefly lifts him from the doldrums he's been in; most certainly when they double (as in the very catchy "C'mon Everybody" sequence) the fireworks explode loud and bright. Both performers are sinuous and sensual and assured, and between them they manage to lift a routine movie far above what it would otherwise be. But it also has the bonus of director George Sidney ("Bye Bye Birdie")--and it's the last Elvis film that will be so blessed.

Why didn't Elvis work more often with strong female musical co-stars like Ann-Margret? Given how powerful the result was in VIVA LAS VEGAS, it's a shame they didn't try to tailor more full-blown Hollywood movie musicals for him. He worked with Nancy Sinatra in SPEEDWAY, but aside from one song written for her by Lee Hazlewood, she wasn't given much to do musically in the film and doesn't even share a duet with Elvis. What would an Elvis teamup with Julie Andrews have been like? Or Shirley MacLaine? Or, dare I say it, Doris Day? And why not younger 1960s musical stars like Petula Clark or Diana Ross? Or even Annette Funicello. The possibilities are tantalizing. Instead they kept putting him with attractive but non-musical co-stars in lightweight romantic comedies with occasional songs, with titles like GIRL HAPPY, DOUBLE TROUBLE, CLAMBAKE, TICKLE ME, and EASY COME, EASY GO, that just don't compare with VIVA LAS VEGAS. At least in ROUSTABOUT, he had a formidable female co-star in Barbara Stanwyck. She didn't sing or dance, but she sure acted up a storm. And her chemistry with Elvis was far more evident than any he might have had with the starlets who populated all his fluffy, throwaway comedies with music.

Okay, I've seen enough Elvis movies to last the rest of my life. I've seen the westerns, the post army movies, the musicals, the documentaries. But this movie stands alone because of the performances of Elvis Presley and the beautiful Ann Margaret. If you ever wanted to see Elvis at his peak ( still young at 29, in shape, confident in his every move ) this is the movie for you. The dance numbers are some of the best I've seen from the era. Elvis was truly at the top of his game filming this movie. I only wish some of the later movies were as good. Sure, this movie has its cheesy parts, but what Elvis movie doesn't. My four year old son likes to watch the ending race sequence over and over again. I wonder who wins the Las Vegas Grand Prix?? I can't say enough about the vivacious Ann Margaret. Elvis himself was smitten for her in real life and I can't blame him. She matches Elvis song for song and dance for dance. At the time of filming, she was referred to as the "female Elvis". Deservingly so, I might add. If only Elvis and Ann had made some more movies together.

This movie is probably the best of the many musicals churned out starring the great Elvis Presley. Colourful, energetic, and with a wonderful OTT co-star, Ann-Margret, alongside fabulous songs such as the title track, 'C'mon Everybody', 'What'd I Say' and others.

This is rock 'n' roll at its very best. Lucky is a racing driver, not that believable as role for Elvis, but given he wasn't much of an actor it hardly matters. Rusty is a lifeguard and fellow competitor, who becomes his girl, natch, and together they sizzle the screen up a treat in their musical numbers and repartee.

More musicals like this and Elvis could have been remembered as a great screen performer away from the (too few) filmed live shows.

I have always been an Elvis fan, but I've never really seen a movie with Ann-Margaret featured in it. I always thought she was just a (very) pretty face, but I feel bad that I only now know what a dynamic entertainer she was in her day...and what a knockout!!! The scene."The lady loves me" is such a keeper!!! Forty-one years later, it's still a blast. Most people would call it corny as hell, but I thought it was a great performance by both Elvis and A-M. I just really don't think there are any female performers today with the combination of looks, personality and overall talent of Ann-Margaret in her hey-day!...a terrific movie....

For Viva Las Vegas Elvis Presley got for the only time in his career a leading lady who could match him as a musical performer. There are as many numbers in Viva Las Vegas for Ann-Margret as there are for the King.

To direct this musical Colonel Tom Parker secured one of the best in George Sidney. This man has to his credit such things as Showboat, Kiss Me Kate, Pal Joey and his services are in the Colonel's policy of making sure that his client Elvis got the best support around in front or behind the camera.

Ann-Margret came along just a tad too late, she's certainly done all right for herself, but her talent like Mitzi Gaynor's should have arrived when the studios were doing musicals.

Elvis is a race car driver arriving in Las Vegas to compete in the Las Vegas Grand Prix. He's cash poor and has to get a new motor in his vehicle. That's not a problem for his chief rival in the race, wealthy European driver Cesare Danova. They've also got a spirited competition going for the hotel swimming instructor Ann-Margret.

If Viva Las Vegas is known for nothing else, the title song has certainly made it memorable. It's one of Presley's biggest hits, sung by him and sung and danced to by Ann-Margret. It's become the anthem of Sin City just as Tony Bennett's ode about where he left his heart has become San Francisco's theme.

Viva Las Vegas was one of Elvis Presley's best films, still enjoyable for the singing, the dancing and the King.

Ann-Margret revives Elvis from his stupor. He feeds off her energy in a frolic through classic Vegas. Ann-Margret Olsson was born in Sweden. Her mother brought her to the United States when she was 5. Sparks fly as she and Elvis get together at the University of Nevada at Las Vegas for Come On, Everybody. Elvis is on the stage. Ann is dancing below. She wears a pink top and black tights. She shakes her boobs and hips. Elvis pulls her up on stage. This is sexy. Too bad they only made one movie together. There is a wedding at the end, so they would have been a married couple in the sequel. ZZ Top revived the title track with a growl.

Easily Elvis Presley's best 1960s musical, but this is immensely helped by his sexy co-star Ann-Margret, who struts her stuff and offers Presely consistent competition in the charisma department. Elvis is a race car driver who wants to raise enough cash to purchase a special motor he needs to compete and win in the first Las Vegas Grand Prix. He works as a waiter at a resort where he falls head over heels for leggy swimming instructor Margret (which means she also gets to wear a few bathing suits) and they hook up, although the girl would rather Elvis stop his reckless racing hobby. The actual racing climax at the end of the film is quite exciting. The songs this time are mostly quite respectable, among them: "The Lady Loves Me " (a flirty duet between the two stars), "C'mon Everybody" (a rousing dance number where Elvis and Ann try to out-step each other), "What'd I Say" (the classic Ray Charles tune) and the title hit "Viva Las Vegas", which is magnificently performed by The King in one steady take. Presley and Margret dated in real life, and they had an undeniably sizzling chemistry between them. After watching this film one can't help wondering if they shouldn't have made more movies together. *** out of ****

Elvis Presley was a hugely influential performer with one of the most distinctive singing voices of anybody. He embarked on a film career consisting of 33 films from 1956 to 1969, films that did well at the box-office but mostly panned critically (especially his later films) and while he was a highly charismatic performer he was never considered a great actor.

'Viva Las Vegas' is proof that most of his earlier films were pretty good ('Kissin' Cousins' and 'Girls! Girls! Girls!' were the closest the period came to misfires but neither among his worst), some close to great even. Not only is 'Viva Las Vegas' Elvis' best 60s film along with 'Flaming Star' and the best since, but it's also one of his best films overall with 'King Creole', 'Jailhouse Rock', 'Flaming Star' and 'Loving You'.

Its weak links are a story that's narratively minimal but also rushed and disjointed and a simplistic and corny script. Then again these two elements rarely were strengths in Elvis' films, far from it. A couple of the travelogue-like scenes drag the film down tad slightly too.

Otherwise, there is not much in 'Viva Las Vegas' that's wrong. Elvis is at his most confident, enthusiastic and charismatic in a few years, and he has a more than worthy partner in Ann-Margret, whose vivacious and snappy turn is one of his best leading lady performances and actually comes close to stealing the show under him. Their chemistry is superb, and there's little to fault the solid supporting cast that includes William Demarest.

Further strengths are the wonderful Panavision cinematography, adroit direction by George Sidney, boundless energy and charm, scenery that never looks cheap and impeccable choreography that has so much kinetic energy and grace.

It isn't an Elvis film without a soundtrack, preferably a good one and 'Viva Las Vegas' has more than a good one. It's one of the best of any of his films, while a few are more memorable than others they're well-used, well-placed and not forgettable and there isn't a disposable song in the lot. Along with the iconic title song, standouts are the gentle "The Lady Loves Me", the witty "Come On Everybody" and the Ray Charles classic "What'd I Say".

All in all, very good and one of the best from the King of Rock and Roll. 8/10 Bethany Cox

Driver Lucky Jackson (Elvis Presley) goes to Las Vegas to race in the first annual Grand Prix Race. His car needs a new engine and he doesn't have the money. While at the garage, Rusty Martin (Ann-Margret) brings in her car for service. Lucky tries to trick her into staying, but she leaves. After a tour of all the casinos, he spots her teaching kids to swim at the hotel pool.

This movie is overloaded with sexiness and easy charms. It doesn't get sexier than Elvis and Ann-Margret. The audience can visit Vegas without leaving the theater. There are a couple of good songs starting with the iconic titular song. It's the perfect Elvis light musical. It's engineered to appeal to the masses. The story doesn't matter. It's just two of the hottest humans around frolicking all over Vegas. There are showgirls. There are set piece dances. There is that new fandango Rock n Roll. Finally, there is fun little car race to finish it. I love all the cool cars. Driving through the neon main drag looks amazing. This has all the crowd pleasing elements.

This is one of the most beloved and recognizable Elvis Presley projects. On the set romance radiates the screen. Lucky Jackson (Elvis) is a race car driver that is forced to take on menial duties to earn money to fix his car to race in the Las Vegas Grand Prix. The sultry Ann-Margret plays Rusty Martin, a life guard that enters a talent contest competing with Lucky. At the last moment, Lucky gets his motor installed and enters the big race. A very good soundtrack provided hits like "C'mon Everybody", "What'd I Say", "I Need Somebody To Lean On" and the quickly to become a classic "Viva Las Vegas". Presley and his co-star are sensational together. Others in the cast were William Demarest and Cesare Danova. This is a fun movie you can watch again and again. Elvis, Ann-Margret and Las Vegas...what a spectacle!!

Elvis Presley movies, by and large, aren't very good. Thirty one feature length pictures he made, of which arguably only half a dozen are jointly watchable and entertaining. But even the stinkers have fans, and not just fans of the King in general, also cinema fans happy to embrace the cheese and kind of just run with it. Yet to totally dismiss Presley's input into the world of cinema is doing a disservice to the small number of movies he made that actually hold up well under scrutiny. One such film is Viva Las Vegas. A film that is of course a frothy hip shaking colourful bonanza, but one that also shows that given a quality co-star to work off, Presley had it in him to move successfully away from the cash cow dirge that his manager Colonel Tom Parker was binding him to.

The plot sees Presley as race car driver "Lucky Jackson" who arrives in Vegas for the Grand Prix that is being held there. But his car is in need of engine repair and he just hasn't got the money to fix it. Taking a job as a waiter, things are further complicated when he meets sexy pool attendant/dance teacher Rusty Martin {Ann-Margret}. Not only is she spurning his advances, but he has a rival for Rusty's affection; Count Elmo Mancini (Cesare Danova), who is also a fellow race driver and is set on winning the Grand Prix himself.

That's really all there is to it, plot simplicity at its finest. Naturally the film is an excuse for Presley to chase the girl, sing some tunes and become a race car hero too. But Viva Las Vegas has a real fun quality that is so lacking in most of his other musicals, it's vibrant, savvy and, yes, sexy. Due in no small part to the chemistry between Presley and Margret. It's believed there was an affair between the two, but casting aside that fact, there was also to be a friendship between them both that lasted up until Presley's sad and untimely death. This film serves as a fitting testament to the birth of that friendship. Old professional George Sidney directs the piece unfussily, even if we perhaps get one too many camera shots of the lovely Miss Margret's derrière (seriously, see how many rear shots you can spot). While Joseph F. Biroc is on hand for cinematography duties as the Vegas piece is brought to life in Panavision & Metrocolor.

The film is also notable for two other points of worth, it's one of Elvis' highest grossing pictures and it contains arguably the best set of songs assembled for one of his film's. Along with the wonderful title song we also get the likes of "The Lady Loves Me", "Come On Everybody", "The Yellow Rose Of Texas", "The Eyes Of Texas Are Upon You", "I Need Somebody To Lean On", "Today, Tomorrow And Forever", "What'd I Say", "If You Think I Don't Need You" & Margret weighs in too with the delightful "Appreciation" & "My Rival". Oddly, and the subject of much criticism over the passing decades, RCA pretty much ignored the soundtrack for the film. Cutting some highly regarded tunes from the film and failing to truly market and utilise what was on offer. The fools.

With both stars looking and sounding terrific (Presley looks like he is cut from porcelain), and Margret matching the King for energy and ants in your pants dancing, Viva Las Vegas is a ball of fun. An ode to love, joy and music, so really there's no excuse to not let the Pelvis and the Derriere take you to foot tapping Nirvana. 7/10

I agree that this movie is not great but I am grateful to whomever thought to put Elvis in a movie with Ann-Margret! They have real chemistry and I bet they both appreciated the fact that they could share being the sex symbol, rather than do it all alone. The beginning of the movie is very boring but it picks up right after that. I cannot really critcize a movie with two of the biggest stars in the world; if the movie is unworthy of their talents, that's not their doing. I am hoping this movie will be re-visited by movie fans this summer, when "The Flinstones in Viva Rock Vegas" comes out, with Ann-Margret signing the theme song!

Like all of ELVIS PRESLEY movie musical/comedies, this one is pretty lame story wise...BUT... a big BUT...This has ANN-MARGRET. She steals the show in every way. As someone posted, when she dances, no one, not even Elvis' biggest fans, can take their eyes off ANN. Wow. What a talent. Too bad she rose to fame just as the movie musical was dying out. She was lucky enough to make the remake of STATE FAIR and one other musical BYE-BYE BIRDIE. What a knock-out. No wonder the Colonal didn't want anyone like her again to star opposite his meal ticket. Never before and never again did was anyone even close to ANN-MARGRET cast opposite him. They all paled by comparison. VIVA LAS VEGAS is worth the cost just to skim through all the musical numbers, especially ANN'S. ELVIS is not bad in this endeavor either, but it's ANN'S show all the way.

Elvis was before me, or at least I felt like he was. I was part of that group of kids who discovered rock music when the Beatles landed. So even though Elvis was still on the scene and having hits, I tended to think of him in the same way I thought of Frank Sinatra or Bing Crosby. Previous generation's music, old hat, passé. And aside from the occasional single that caught my ear and made me think, "hmm, not bad," that's pretty much how my perception stayed, until he died. Then I thought I'd give him a second chance. So I took a crash course in Elvis. Went out and bought a bunch of his albums, from the earliest to 'Moody Blue.' Even watched a bunch of his movies, which I wouldn't have been caught dead doing before. Not surprisingly, perhaps, I found a lot to like. My own quirky tastes led me to enjoy his sixties music, especially the singles from the films, more than his earlier and supposedly 'purer' songs. And one of the things I found that I liked most about Elvis was his attitude; he didn't take himself seriously at all. A lot of high-minded music and film critics thought he was goofy, but guess what? So did he. And he was a movie star, for over a decade. Maybe an Elvis expert can tell me some day why he kept churning out essentially B-movies year after year when he should have issuing classic rock albums and standing at the pinnacle of popular music. Did he think he could do both, or was doing both? Or maybe it gets back to that 'attitude' thing again, that he just didn't give a damn. So then, 'Viva Las Vegas.' Probably the quintessential sixties Elvis flick. As with all of his vehicles, the plot doesn't bear close scrutiny, but in this case, he's a race car driver who's trying to raise money to fix his race car, so he winds up in Las Vegas and fools around with Ann-Margret. Makes sense to me. Thanks to some reliable old movie hands, like director George Sidney, and a VERY energetic Ann-Margret, 'Viva Las Vegas' is a cut above Elvis' other films from the period. The energy level is high and the musical numbers are very entertainingly staged. In fact, if I were to pick a single sequence in any of the movies to illustrate Elvis' appeal, it would be the set-piece given 'C'mon Everybody.' It is so great and so goofy, it sums up everything there is to love about Elvis in a little over two minutes. He is the epitome of cool, his dance moves elegantly effortless and supremely silly at the same time. It really is as though he doesn't even have to try, once the music's on, Elvis is on and you can't take your eyes off him, no matter how hard Ann-Margret tries to provide distraction. As he struts, slinks and stomps across the stage, singing those immortal lyrics-

Ain't nothing wrong with longhair music

Like Brahms, Beethoven, and Bach

But I was raised with a guitar in my hand

And I was born to rock!

-you just KNOW you're watching the King of Rock 'n Roll. Elvis Presley's films exist outside the world of the sixties as most remember them; there are no real hippies and no attempts at psychedelia. In the party scenes where Elvis inevitably gets up and sings, the men look like insurance salesmen and the women all seem to be refugees from Hefner's Playboy Mansion. They didn't come across as 'hip' even at the time. But 'Viva Las Vegas' infuses the insular Elvis formula with jolts of star-powered electricity and its own kind of rock and roll energy, propelling it above the rest and reminding us why that peculiarly American rock icon, Elvis Presley, still occupies a unique place in our culture, heart, and soul.