Although tor music was lull something actually fresh and new in 1957, that didn’t mean that it couldn’t be grafted onto the old and hoary. That was the case in this cynically concocted mellifluous that takes rock acts, both big name and forgettable, and melds them onto a stage melodrama that’s fairly creaky at its master.
Two young singers, Pete Porter (Paul Carr) and Honey Wood (Freda Holloway) are vying for the notable time. They are each to each represented by a pair of unscrupulous agents, Goodness Shaw (Kay Medford) and Lew Arthur (Bob Pastene) who good happen to be ex-spouses. When Suppleness sees the draw between the youngsters, she comes up with the idea of teaming them as sentimentalist singers, and the couple swiftly hits the whacking big time. But Grace and Lew are craving and distrustful, and both of them try to engineer their clients to struggle out a unaccompanied business, greatest to inevitably disastrous results.
The story is static and not monumentally credible, especially since neither of the youngsters has an ounce of charisma. They’re singularly at a disadvantage up against the numerous other actual tuneful acts, a fact that isn’t helped by Holloway’s singing utterance being incongruously dubbed by Connie Francis. Their meant popular move, Who Are We to Say, is, however, surprisingly catchy and actually not a cranky not much tune. Medford and Pastene are somewhat entertaining as they snipe against each other, but their de rigeur reconciliation rings absolutely fallacious.
The earnest appeal, of course, is the presence of all the other mellifluous acts here. Carl Perkins, Jerry Lee Lewis, Fats Domino, Count Basie and Frankie Avalon are the biggest names, and they give reasonably good performances as they lip-synch through their numbers. At the other effect of the spectrum are the appallingly offensive Sayonara by Jodie Sands, the nauseating Hula Love by Buddy Knox, and an damned sincere musical tribute to bullfighters by Ron Coby. The story’s conventions earmark them to do a number as part of a show (or in in unison extended series, as part of a telethon hosted by a 1957 Dick Clark), and then righteous exit without being troubled by dialogue or interacting with the cast of the story. It feels like the tunes are just slapped on, and insomuch as writers Max Rosenberg and Milton Subotsky’s keep up with record of churning dated whatever was selling tickets, any cynicism is well founded.
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In two dozen disc jockeys also make an appearance, hyping the fictional Honey and Pete feat. My jaundiced eye suspects this was another maneuver to get some bountiful publicity to go to this fairly dismal picture. It does give unified a look at the surprisingly button-down DJs of the early rock date, however, and the strikingly loopy and certainly not button-down buffoonery of New York’s Jocko Henderson. But that’s not enough to save this dud by a elongated swig.
Songs:
Rocco and His Saints: Record Hop Tonight
Connie Francis: Inasmuch as Children of All Ages
Carl Perkins: Glad All Over
Paul Carr & Connie Francis: Who Are We to Divulge
Frankie Avalon: Teacher’s Pet
Connie Francis: Siempre
Charlie Gracie: Imperturbable Baby
Jodie Sands: Sayonara
Jerry Lee Lewis: Cyclopean Balls of Salvo
Ron Coby: Toreador
Lewis Lyman and the Teenchords: Your Matrix Chance
Paul Carr: If Not for You
Slim Whitman: Unchain My Goodness
The Four Coins: A On the fritz Promise
Count Basie: Carouse
Joe Williams and the Count Basie Orchestra: I Don’t Like You No More
Buddy Knox: Hula Fiance
Jimmy Bowen: Cross Over
Fats Domino: Wait and See
Paul Carr and Connie Francis: Twenty-Four Hours a Day