191. VIVA LAS VEGAS, 1964
- 13 minutes ago
- 19 min read
High-octane fun, powered by a music icon and a Hollywood sex kitten
You know those days when the weather is perfect, the sun is shining, and for the moment, you don’t have a care in the world? This week’s film, “Viva Las Vegas”, is the cinematic equivalent. Forget about plot details or today's social mores and dive head-on into euphoric escapism. Set in the colorful desert landscape and glittering neon lights of Las Vegas, this film is playful, sexy, and bursting with energy. A joyously rockin’ musical romantic comedy built to showcase the electrifying talents of Elvis Presley and Ann-Margret, it proves that not every movie needs grand messages or heavy drama to exhilarate.
“Viva Las Vegas” centers around race car driver “Lucky Jackson”, who heads to Las Vegas intending to win the Las Vegas Grand Prix. He and his loyal partner “Shorty Fansworth”, are scrambling to raise the money for an expensive new motor that could give “Lucky’s” car the edge it needs — money that “Lucky” rapidly wins gambling and just as quickly loses.
“Lucky” crosses paths with rich and suave European racing champion “Count Elmo Mancini”, who has come to Vegas hoping to win his first American race. The two soon encounter a dazzling redheaded girl named “Rusty Martin”, and before long, they’re competing not only for the racing cup, but also for “Rusty’s” affection. Did I mention that “Lucky” and “Rusty” can both sing and dance? Well they can, and thrillingly well. I’ll leave the plot at that — you’ll have to watch the film to see who wins the race and who gets “Rusty”.
A virtual time capsule of Las Vegas in its glitzy glory days and 1960’s dance steps and music, this Metro-Goldwyn-Mayer (MGM) musical doesn’t try to mirror reality or take itself too seriously. It’s simply pure, unadulterated fun. The plot is the film's least important element, as the somewhat implausible storyline serves as a launchpad for energetic songs, bursts of action, and gobs of star-powered chemistry. Even at its most far-fetched, the cast sells it with such infectious playfulness that we buy it hook, line, and sinker.
Much of the credit goes to director George Sidney, who unapashedly creates an effervescent world of bold color, playful humor, and light drama with a cozy, slightly cartoonish surrealism. Take the moment when “Lucky” suddenly whisks “Rusty” away on a helicopter, piloting it himself. Sidney treats the absurdity as a nonissue, turning it into such a gleeful bonding moment that implausibility hardly matters (“Lucky” eventually explains he was in the Air Force). As with other moments, the joy of the scene carries us along, whether it makes sense or not.
Having directed many hugely successful MGM musicals, Sidney brings that expertise to the film’s musical numbers, making them spontaneous, seductive, exuberant, and irresistibly engaging. They embody the carefree spirit of Las Vegas itself.
There’s the delightfully amusing duet, “The Lady Loves Me", staged in a dressing room and by a swimming pool for maximum fun, and the oh-so-catchy “C’mon Everybody” and “What’d I Say", each mixing long shots, close-ups, and sharp editing to make us stomp our feet while marveling at the two stars’ bump and grind dance moves. And Sidney gives “I Need Somebody to Lean On” surprising emotional weight by showing “Lucky” in silhouette watching other couples while hearing the song before finally singing it himself.
Sidney even has characters break the fourth wall from time to time and look directly at us — most notably “Rusty’s” solo song “My Rival”, filmed in one continuous shot, sung straight to the audience — directly including us in the fun.
Knowing exactly how to showcase his stars, Sidney highlights Presley’s trademark rhythmic movements and hip-shaking, often capturing him from head to toe in musical numbers like the title track (another continuous shot), while emphasizing Ann-Margret’s undeniable sex appeal with playfully admiring shots (including her spectacularly leggy entrance and several that spotlight her butt). His direction keeps the film lively and happy-go-lucky even when there's drama. He’s created a movie so pleasurable you simply want to keep watching it.
New York City–born George Sidney, best known for his musicals, come from a theatrical family — his mother was a vaudeville performer, and his father an actor, stage manager, movie theater manager, and eventually an MGM executive. After beginning as a child actor and musician, Sidney joined MGM in his teens and worked as a messenger boy, film editor, and the studio’s youngest assistant director. In 1936, at age 22, he began directing short films, notably many of the “Our Gang” (“Little Rascals”) shorts, as well as 1940’s “Quicker 'N a Wink” and 1941’s “Of Pups and Puzzles” — both Academy Award Best Short Subject winners. He moved to features in 1941 with “Free and Easy”, and in 1943 directed his first musical feature, the all-star “Thousands Cheer”. Working over two decades at MGM and briefly at Columbia Pictures, he directed well over a dozen major box-office hits, including the musicals “Bathing Beauty”, “Anchors Aweigh”, “The Harvey Girls”, “Annie Get Your Gun”, “Show Boat”, “Kiss Me Kate”, “Pal Joey", and “Bye Bye Birdie”, and non-musicals like “The Three Musketeers”, “Scaramouche”, “Young Bess”, and “Pepe”.
Regarding “Viva Las Vegas”, in the book “Just Making Movies: Company Directors on the Studio System”, Sidney told Ronald Davis it "was one of those cases where we had no script and we had a commitment. Originally it was something about an Arabian or something... But we turned it around and we wrote the script in about eleven days... We changed the whole thing and decided to do it in Las Vegas”. By “we”, Sidney means himself and writer Sally Benson (who previously wrote the book “Meet Me in St. Louis”, and co-wrote screenplays like "Shadow of a Doubt" and "Anna and the King of Siam"). Sidney directed only three more films after “Viva Las Vegas” before retiring in 1967.
His honors include four Directors Guild of America nominations and its Life Member, Robert B. Aldrich Achievement, and President’s Awards, an Emmy nomination, and an honorary Golden Globe for Best World Entertainment through Musical Films. Beyond directing, Sidney was a founding partner of Hanna-Barbera animation studio, served as president of the Screen Directors Guild for 16 years, was a prolific photographer, art collector, and was married three times, including to actresses Lillian Burns and Corinne Cole. George Sidney died in 2002 at age 85.
“Viva Las Vegas” was made as a low-budget B-movie vehicle for Elvis Presley, who stars as singing race car driver “Lucky Johnson”. With overflowing charisma and easygoing confidence, Presley makes “Lucky” instantly likable — even when he behaves questionably (like trying to trick “Rusty” into a date). At heart, “Lucky” is a good guy, evident in the tenderness Presley brings to moments like telling “Elmo” he intends to beat him, or in his charming cockiness while serenading “Rusty” with “The Lady Loves Me”. It’s no wonder she falls for him.
Presley’s unique physicality is on full display in “C’mon Everybody", shaking every inch of his body in a debonair tan suit. If you’re not familiar with Presley, this is him at his famous swirling, gyrating best. In contrast, “I Need Somebody to Lean On” gives him a chance to quietly emote, using only his voice and presence to express “Lucky’s” longing. Known as the “King of Rock and Roll”, Presley was one of the most important musical figures of the 20th century, and this film offers a glimpse as to why.
Born in Tupelo, Mississippi, Presley grew up in the segregated Deep South, developing a love for both Black and white music. Poor and shy, he received his first guitar at ten, and after moving to Memphis, Tennessee, became more comfortable performing. In 1952, he recorded songs at Memphis Recording Service as a gift for his mother, catching the attention of its owner, Sam Phillips. Phillips invited Presley to record with another guitarist and a bass player, and at the session, Presley launched into his own version of the 1945 blues song “That’s All Right”, infusing it with a country swing feel. The musicians followed his lead and they recorded it. This mix of styles, along with Presley’s emotional intensity, created an entirely new sound. The recording, which became a local hit (selling about 20,000 copies), created what was known as rockabilly (rock and roll played by “hillbillies”), which quickly evolved into rock and roll.
Touring the South, Presley stunned audiences with his explosive stage presence. Intensely feeling the music, his whole body — including his pelvis — would move, sending teenagers into screaming frenzies. Audiences had never heard or seen anything like this before. By blending Black and white musical traditions, he challenged racial boundaries and forever reshaped American music, earning both devotion and criticism. Managed by Colonel Tom Parker, he signed with RCA Records in 1955 at the age of twenty-two, and began recording songs at RCA starting with “Heartbreak Hotel”. He also started appearing on television.
His biggest breakthrough came with two TV appearances on “The Milton Berle Show”, which introduced him to tens of millions of people. His unconventional look, sound, and provocative moves became a catalyst for the youth counterculture movement that soon followed, while he drew heavy criticism from conservatives who saw him as a vulgar and dangerous no-talent, rousing sexual passions of teenagers. “Heartbreak Hotel” rose to #1 on the Billboard pop and country charts (and in the top 5 on the R&B chart), and his debut album, "Elvis Presley", spent ten weeks at #1 — the first rock-and-roll album ever to top Billboard charts. Elvis mania had only just begun
A former movie theater usher, Presley dreamed of acting, idolizing Tony Curtis, Marlon Brando, and James Dean. Though Presley dreamed of serious roles, Parker wanted to cross-promote him with films that capitalized on his music. His screen debut came in a major supporting role in 1956’s “Love Me Tender” (named after one of Presley’s hit songs). Despite lukewarm reviews, it was an instant box-office hit and launched Presley’s movie career (he was top billed in every subsequent film). Three more films immediately followed, including two of his best — “Jailhouse Rock” (the title song sold two million copies in the first month alone) and “King Creole” (thought to contain his best acting performance) — before he was drafted into the U.S. Army in 1958 (which became a major media event). During his two years in the service, some of his previously unreleased songs were issued and climbed the charts. After returning, he made two to four films a year (all moneymakers), and remained a Top Ten box-office star from 1961 to 1966.
Though many of his films were formulaic B-movies, “Viva Las Vegas” stood out, benefiting from Sidney’s MGM-honed musical flair. Slightly over budget and featuring strong musical numbers, it’s widely considered Presley’s best and most popular film. It was his 15th of 31 movies, the highest-grossing, and the only one in which he shared top billing. However, prioritizing efficiency over quality and frustrated by going over-budget, Parker subsequently pushed Presley back into a repetitive formula — singing in exotic locations while chasing a pretty girl — leading to declining films and song quality. Creatively stifled, Presley grew depressed. Come 1966, he hadn’t performed live or had a Top Ten hit in seven years, and with the rise of The Beatles, psychedelic rock, and protest music, he felt outdated. He knew he needed a change.
Presley revitalized his career with the 1968 TV special “Elvis” (known as the “’68 Comeback Special”), which contained intimate jam sessions, performances of his classic hits, and new songs, showcasing the raw charisma and musical power that first made him a star. Its success reaffirmed his influence on rock and popular music, while refocusing his career on music. He retired from movies in 1969, returned to recording, and released acclaimed works such as the album “From Elvis in Memphis” and hit songs like “In the Ghetto” and “Suspicious Minds”.
That same year he launched a triumphant residency at the Las Vegas International Hotel, taking full creative control of his performances — choosing musicians, backup singers, songs, and arrangements, blending rock, gospel, blues, and ballads with unmatched dynamic showmanship. He toured internationally while keeping Las Vegas as his performing home base, and quickly reaffirmed his global superstar status.
Over eight years, Presley performed more than 600 shows in Las Vegas alone, often seven days a week, sometimes twice a day. Because his adrenaline ran so high after performances, he began taking pills to sleep, and soon, pills to wake. By the mid-1970s he was addicted to prescription medications, gained significant weight, and was burned out and exhausted, going through the motions of performing. In 1977, at age 42, Elvis Presley died from sudden cardiac arrhythmia linked to long-term prescription drug misuse and related health complications.
One of the most influential entertainers in history, Presley scored 17 U.S. #1 hits (and many more internationally), won three Grammys (with fourteen nominations), the Grammy Lifetime Achievement Award, was posthumously awarded the Presidential Medal of Freedom, and inducted into multiple music halls of fame. His other hit songs include “Can't Help Falling in Love”, “Don't Be Cruel”, “All Shook Up”, “Blue Suede Shoes”, “It's Now or Never”, and “Viva Las Vegas” (which became the unofficial theme song of Las Vegas). His other films include "Blue Hawaii", "Flaming Star", "Kid Galahad", and "Loving You”.
Many of Presley’s songs are cited as foundational to American rock music. With over 500 million records sold worldwide and numerous records on the Billboard and international charts, he remains one of the best-selling music artists in history and a defining figure in modern popular culture. He’s the subject of countless documentaries and biopics — most recently the 2022 biopic “Elvis” (starring Austin Butler as "Elvis") and the 2025 documentary "EPiC: Elvis Presley in Concert" (playing in theaters now), both directed by Baz Luhrmann. As of this writing, Luhrmann is planning an Elvis Presley stage musical.
Sharing top billing in “Viva Las Vegas" is Ann-Margret as “Rusty Martin”, the object of both “Lucky” and “Elmo’s” desires. Her beauty immediately halts both men’s plans, and her striking presence makes that believable (to me, she ties with Sophia Loren as the sexiest woman in cinema). Blending sweetness with sultry warmth, she radiates sensuality in everything she does — from wriggling through musical numbers to casually folding towels while asking “Lucky" if he can dance. Her solo, “Appreciation”, captures this perfectly, from her coyly sung opening to her fluid, expressive dancing in a skintight bodysuit. The only co-star to truly match Presley’s sex appeal, charisma, and physicality, she goes toe-to-toe with him in numbers like “C’mon Everybody” and “What’d I Say”, demonstrating exactly why she earned the moniker “the female Elvis”. Fearing she might upstage him, Parker had one of her three duets with Presley cut from the film and another turned into a Presley solo.
But Ann-Margret is far more than just a dazzling presence. With her all-pervasive warmth, sharp intelligence, and emotional clarity, she makes “Rusty” deeply engaging. When she says, “I’d like you to check my motor, it whistles”, and “Lucky” quips, “I don’t blame it”, her measured “What did you say?” lands as both a question and a subtle warning. As the moment unfolds, her controlled sarcasm makes it clear that she’s fully aware of being hit on, yet firmly in charge. Ann-Margret plays "Rusty" with such sincerity and nuance that she transforms what should have been a standard love interest into a strong, fascinating woman of real depth. Her genuineness elevates the material and grounds the film’s fantasy in emotional truth.
Her chemistry with Presley is electric — a playfully charged give-and-take that comes alive when they dance, talk about their roots, or in shared moments of amusement like the helicopter scene. Rumors of an off-screen romance circulated during filming, later confirmed by Ann-Margret in her 1994 autobiography "My Story". Recalling their first meeting, she wrote: “We were quiet, polite, and careful. But I knew what was going to happen once we got to know each other. Elvis did too. We both felt a current, an electricity that went straight through us. It would become a force we couldn’t control… From day one, when we gathered around the piano to run through the film’s songs, Elvis and I knew that it was going to be serious”.
She also described the source of their on-screen connection: “We discovered two things about each other. Once the music started, neither of us could stand still. Also, we experienced music in the same visceral way. Music ignited a fiery pent-up passion inside Elvis and inside me. It was an odd, embarrassing, funny, inspiring, and wonderful sensation. We looked at each other move and saw virtual mirror images. When Elvis thrust his pelvis, mine slammed forward too. When his shoulder dropped, I was down there with him. When he whirled, I was already on my heel”. Off-screen, she described them as kindred spirits, both shy yet passionate, bonded by a love of music, performing, and motorcycles, with parallel meteoric rises to fame. They also understood from the beginning that Presley’s life, commitments, and reluctance to have a relationship with someone devoted to their own career made a marriage impossible (after filming, he went back to his fiancée Priscilla Beaulieu), but they remained close friends until his death. “Viva Las Vegas” ultimately cemented Ann-Margret’s status as a true triple threat (actor, dancer, singer), and the eighth Top Box-Office star of 1964.
Born in Stockholm, Sweden, and raised in the tiny village of Valsjöbyn (without movie theaters and with only a few radios), Ann-Margret grew up in a quiet, music-filled home where her mother sang folk songs, and by age three, she was already harmonizing. Her father left for America shortly after her birth, reluctant to bring his family with him during World War II, but after the war (when she was five), he sent for them. Reunited in New York City, he took her to her first movie and to see the Rockettes at Radio City Music Hall — an experience that left her mesmerized. Settling in Illinois, her mother enrolled her in dance classes to help her adjust. She quickly loved performing, appeared in recitals, joined the Glee Club, by thirteen was on a local TV talent show, and at sixteen, sang on the national TV program “Ted Mack and the Original Amateur Hour”. Though naturally shy, she became completely uninhibited when performing. In high school, she was a cheerleader, and also performed in theater productions.
While attending Northwestern University, she helped form the band The Suttletones, performing nights and weekends in Chicago and eventually Los Angeles and Nevada. With her parents’ support, she left school to pursue entertainment full-time. The Suttletones landed a major gig at the Dunes hotel and casino in Las Vegas, where an agent spotted her, signed her solo, and arranged an audition for legendary comedian George Burns’ annual Las Vegas holiday show,. She was hired on the spot and later called Burns kind, generous, and an invaluable mentor. During the show’s 11-performance run at the end of 1960, she won rave reviews for her three solo numbers and a soft-shoe finale with Burns. It lead to a screen test for a lead in the Twentieth Century-Fox film “State Fair”, a seven-year contract with the studio, and a 14-page Life magazine article about her as a rising Hollywood hopeful.
Also in 1961, she made her screen debut in “Pocketful of Miracles”, directed by Frank Capra, playing Bette Davis’s daughter, and earned a Most Promising Newcomer Golden Globe. She also released her debut album "And Here She Is… Ann-Margret", which brought her a Best New Artist Grammy nomination. Television appearances followed, with a breakthrough singing and dancing to “Bachelor in Paradise” at the Academy Awards, which made her one of Hollywood’s most talked-about newcomers. Soon after, she booked the co-starring role of the “bad girl” in "State Fair", her second film.
Having seen her perform in Las Vegas, Sidney cast Ann-Margret in his new movie, “Bye Bye Birdie” (ironically, a musical about a Presley-type teen idol being drafted into the Army). The role showcased her vibrant singing and dancing, bubbly energy, and seductive moves. A tremendous hit, "Bye Bye Birdie" earned her a Best Actress Golden Globe nomination, and her rare combination of talent and off-the-chart sexiness made her an instant star. “Viva Las Vegas” followed, propelling her as a cultural icon. Her uninhibited playfulness, sexual self-awareness, and willingness to let the camera emphasize her sensuality led to her being labeled a “sex kitten” — a term she came to define alongside Brigitte Bardot. She was now one of Hollywood’s biggest stars.
Numerous films followed (though most were not critically successful), including “The Pleasure Seekers”, “The Cincinnati Kid”, a remake of “Stagecoach", and her final with Sidney, “The Swinger”. She also voiced the character of “Ann-Margrock” (a caricature of herself) in a 1963 episode of the classic Hanna-Barbara animated TV series “The Flintstones”. In 1967, she married Roger Smith, who left acting to support and manage her career for the rest of his life.
Alongside film work, she continued performing live, including in Las Vegas starting in 1967. In 1971, she broke free from “sex kitten” roles with the Mike Nichols film “Carnal Knowledge”, co-starring Jack Nicholson. The role unveiled her dramatic depth, winning her a Golden Globe Award, and Oscar and New York Film Critics Circle nominations, launching a long run of acclaimed film performances.
In 1972, while debuting a new act in Lake Tahoe (set to continue in Las Vegas), the 22-foot platform she entered on tilted, sending her crashing to the stage, landing unconscious in a pool of blood. She suffered severe facial fractures, a jaw broken in two places, a broken arm, and a deep gash to her knee. Her survival was uncertain. Smith immediately flew from Los Angeles to Reno in a stolen plane, finding her hospitalized in a coma. Against doctors’ advice, he arranged for a Los Angeles specialist to perform internal facial surgery to prevent visible scarring, and flew her, still unconscious, to UCLA Medical Center. Driven by determination, Smith’s support, and a desire to prove to her terminally ill father that she could return to work, Ann-Margret made a remarkable recovery. Within three months, she was back onstage for her Las Vegas run. Her return was triumphant, and by 1975 she was the highest-paid performer in Las Vegas.
To date, Ann-Margret has appeared in nearly 40 films, earning a second Oscar nomination for the 1975 rock opera "Tommy", ten Golden Globe nominations (winning for “Tommy” and the TV movies “Who Will Love My Children?” and "A Streetcar Named Desire"), and six Emmy nominations (winning for a 2010 appearance on "Law & Order: Special Victims Unit"). Her other films include "Magic", "Twice in a Lifetime", "Grumpy Old Men", "I Ought to Be in Pictures", and "Newsies". She’s made over 150 TV appearances, including her own specials, talk shows, variety shows, and more. She also sang the title song for the 2000 live-action film "The Flintstones in Viva Rock Vegas" (a play on this film’s title song), and has recorded over a dozen albums, earning a Grammy nomination for 2001’s "God Is Love: The Gospel Sessions". She was married to Smith for sixty years until his death. I was lucky enough to meet them both at a book signing and was completely starstruck. One week from today, Ann-Margret turns 85 (April 28, 2026).
Cesare Danova plays “Count Elmo Mancini”, a handsome, wealthy, refined Italian racing champion. Though “Elmo” and “Lucky” are rivals on the track and for "Rusty", Danova’s charm grounds their relationship in genuine mutual respect. He gives “Elmo” buoyant, unshakable good humor — smiling with bemusement when” Lucky” grabs his guitar to chase “Rusty”, taking lighthearted amusement in their squabbles over the talent contest, and even maintaining a layer of polite restraint when angered at dinner. Danova’s warmth and winsomeness create a fully sympathetic human, helping give the film its cheerful spirit.
Born in Bergamo, Italy, Cesare Danova planned to become a doctor to satisfy his parents. But before his exams, he met producer Dino De Laurentiis, who gave him a screen test and cast him in his 1947 film “La figlia del capitano”, launching Danova's career as an actor. After appearing in roughly 19 European films (including the 1954 Italian-produced Errol Flynn swashbuckler “Crossed Swords”), he was discovered by MGM and moved to Hollywood, initially set to play the title role in “Ben-Hur” before it went to Charlton Heston. Instead, his Hollywood debut was in 1959’s “The Man Who Understood Women”, after which he began working heavily in television, making fewer films over time. By 1992, he'd appeared in over 100 films and TV shows, including “Cleopatra”, “Mean Streets”, “National Lampoon's Animal House", “Chamber of Horrors”, “Gidget Goes to Rome”, and “Che!”, and TV series like “The Rifleman”, “Charlie's Angels”, “Ryan's Hope”, “Falcon Crest”, “The Lucy Show”, and starring in “Garrison's Gorillas”. An avid croquet player, he was inducted into the United States Croquet Hall of Fame in 1988. Married twice, Cesare Danova died in 1992 at age 66.
Appearing in “Viva Las Vegas” as Rusty’s father, "Mr. Martin”, William Demarest brings masterfully dry comedy, balancing his gruff exterior with warmth and underlying sweetness. His easy, welcoming manner when he first meets “Lucky” is instantly lovable, his affection for “Rusty” shines through (especially in his proud, enthusiastic applause during her song) and he adds a light comic touch in moments like helping “Lucky” with his engine. He's very fun to watch.
By the time of “Viva Las Vegas”, Demarest was already a seasoned character actor with nearly 150 film and TV credits under his belt. The following year, he became a household name as “Uncle Charlie” on the last eight seasons of the classic TV show “My Three Sons”, earning himself an Emmy nomination. His long career includes roles in classics like “Sullivan's Travels”, “Mr. Smith Goes to Washington”, and “The Palm Beach Story” — all films already on his blog, and you can read more about the life and career of William Demarest in my post on the latter. Just click on the title to open it.
Nicky Blair plays “Shorty Fansworth”, the loyal mechanic on ”Lucky’s” racing team. Bustling with energy and determined to get "Lucky's" new motor, Blair is perfect as “Lucky’s” comical sidekick, adding just the right amount of dynamic vigor to heighten the fun.
Brooklyn-born Nicky Blair began appearing in films in 1949, amassing over 130 film and TV credits by 1998. Though mostly in small roles (waiters, maitre d’s, cab drivers, bartenders, sidekicks, and such), his résumé reads like a classic film guide, including "The Wild One”, "Sweet Smell of Success", "Bells Are Ringing", "Ocean's Eleven", "Breakfast at Tiffany's", "Lover Come Back", "Birdman of Alcatraz", “The Manchurian Candidate”, "Diamond are Forever", "Beaches", "Rocky V", and "The Godfather Part III", with TV appearances on "Batman", "The Munsters", "Saints and Sinners", "Spider-Man: The Animated Series", and his final credit, "Beverly Hills, 90210”. He called himself “the most well-known unknown” — known less for his acting than for his success as a restaurateur, running a Los Angeles restaurant from 1971 to 1976, and the famous "Nicky Blairs" on Sunset Boulevard from 1986 to 1993 — a Hollywood fixture frequented by stars like Frank Sinatra, Clint Eastwood, Sylvester Stallone, Tony Curtis, and others. I ate there decades ago. Nicky Blair died in 1998 at 72.
One final mention goes to Teri Garr, who appears as a dancer, most notably wearing a white top and black skirt during “The Climb” and “What’d I Say". After ten years of ballet training, Garr discovered Presley’s music and, inspired by it, began studying modern and jazz dance while in high school. “Viva Las Vegas” marked her second of five appearances dancing in Presley musicals (though it’s unclear if she actually danced in her first, “Fun in Acapulco”). She later became an Oscar-nominated star in her own right, known for both dramatic and comedic talent. There's more about the life and career of Teri Garr in my post on "Young Frankenstein" and my brief tribute to her after her recent death (which you can find HERE).
This week’s movie features two icons, pure fun, and is a cult favorite that never gets old no matter how many times you watch it. Enjoy the exuberant “Viva Las Vegas”!
This blog is a series exploring classic films from the silent era through the 1970s. Each post recommends a film to watch, aiming to entertain, inform, and deepen your appreciation of cinema — its stars, directors, writers, the studio system, and more. Be sure to visit the HOME page to learn more, and check out THE MOVIES page for a full list of films. Please comment, share with others, and subscribe so you never miss a post. Thanks for reading!
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