Caught this on TV recently for the first time since 1956 when, as a 12 year old, I saw it at least twice that I remember. I was a huge Bill Haley fan there at the dawning of the age of Rock & Roll and thoroughly enjoyed this cheaply made little movie. When I started watching the other night, I wasn't expecting much and figured I'd just leave it on for awhile to hear some of that music. Well, I wound up watching the whole thing. Is it dated? Yep! Is it corny? Oh, you bet! Did I love it? More than ever! Bill Haley was quite believable as himself although seemingly just a bit embarrassed and the music was awesome. I had forgotten just how well the Comets could play their instruments within those three wonderful chords. I would recommend this to anyone who lived through the era. Go back and visit your roots. This movie Rocks!!
Add a Review
-
TonyG-76 July 2000
-
westfall-d29 December 2006What fun to come upon this 1950s gem on cable TV today! At first I thought I was seeing Debra Paget, but it turned out to be her sister, Lisa Gaye, who played a prominent role in this film and demonstrated real dancing skill. This movie is so special, not only because it showcases rock & roll's important early performers, but also its place in musical time -- right at the pop music transition from the big bands to the much smaller combos. In fact, the term "combo" was apparently not in popular use yet. In the film, these small rock & roll bands are referred to as "combinations" of musicians. And the dancing was a joy to watch! Influences from the Big Band era were still strong as couples did variations of swing and jitterbug with the brand new additions of non-touch formula steps that later led to the Twist, the Mashed Potato and all the rest, right up to the present time when almost no one knows how to dance together as a couple. This film should be required viewing for anyone following the history of post-World War II popular music and the end of the big bands.
-
JoeKarlosi30 January 2007Though it wasn't the first film to mention "rock and roll," this is known as the "first real rock film" and it's a mixed bag. Basically it's a vehicle for rock and roll pioneer Bill Haley and his band, The Comets. In the very thin story, two square music managers realize that their old type of traditional dance music is dying out in favor of the latest "rock 'n' roll" fad. When they see Haley and the Comets perform their classic "See You Later Alligator" at a small town dance and witness all the kids dancing up a storm, they decide to try and get this group to play full-time and make it big. The film's not very interesting when it veers away from the music, but along the way we get several more Bill Haley songs (the famous title hit itself, plus "Razzle Dazzle," "Rock Rock Rock" and others), and we're also treated to The Bellboys. But the main attraction is easily The Platters, who expertly perform two of their big hits - "Only You" and "The Great Pretender". The latter is so fabulous it sends chills up the spine. **1/2 out of ****
-
SnoopyStyle22 June 2018Band leader Steve Hollis sees the end of the big band era. He decides to head off to New York and bassist Corny LaSalle joins him. Along the way, they encounter young kids heading to a Saturday night dance. Steve is intrigued and finds them dancing to the new Rock N Roll with Bill Haley & His Comets. He signs up the band and dancer Lisa Johns. He sweet talks high powered agent Corinne Talbot but she rejects the new sound for personal reasons.
This is one of the first Rock N Roll films. It's the start of a new subgenre. Certainly, this is dated to some extend especially the dialogue. The premise is simplistic. It turns into a woman scorned story. One can't expect it to be ground breaking in every way. It's enough to have The Platters perform on the same stage as other non-black performers. It's good enough to be good enough. The music is great and iconic performed by the real bands. Everything else is filler and they are functional in that light. It's a solid start of this sub-genre and a great slice of music history. -
jamesrupert201413 August 2018Entertaining, albeit completely fictional, story about the early days of 'rock'n'roll'. The diaphanous plot finds band manager Steve Hollis (Johnny Johnston) having an musical epiphany while attending a small town dance in 'Strawberry Springs', where the kids are rocking and rolling to local band 'Bill Haley and His Comets'. Recognising the potential of the new sound, Steve plans to take the band to the top but has to contend with conniving agent Corinne Talbot (Alix Talton), who is carrying a torch for him and doesn't want him fraternising with "Young. Fresh." dancer Lisa (Lisa Gaye ). Haley and crew lip-sync a few good tunes including the titular classic, as do the Platters (including the standard "The Great Pretender") and the Bellboys (a somewhat less remembered act). There is lots of hip slang, keen music, a bit of S.E.X., and some crazy dancing (especially by Lisa Gaye and Earl Barton). Good, light-weight fun daddy-o!
-
pswanson0029 December 2006It ain't great cinema, folks, but it IS fun. It's also a great reminder of the roots of rock- and-roll (old-fashioned hyphenated spelling intentional), and how far that musical genre has developed in the last (choke) 50 years.
I was only 9 when this film was released, and had never seen it until today (thanks, Turner Classics). Bill Hailey was certainly no Eric Clapton on the guitar, but was definitely a showman...in what would now be considered a cornball sort of way. The whole film is a good display of the fact that choreographing singers' movements didn't start with Madonnna. It also shows modern viewers that the Platters could REALLY sing!
Another thing I really enjoyed was the dancing in this movie. Lisa Gaye and Earl Barton could move! About an hour and 15 minutes into the film (which is only about 1:20 long) there's a number which shows them off well, during which they're joined by a couple of dozen other excellent dancers. It's a fun way to end the film. -
This has some great early music performances and really fun lively dancing. The story line is thin and can be skipped over. But what you get is each performer for from two to four songs.
Bill Haley had the bad luck to look older. He was in his mid 20s but looked 40. But the band had a great sax player and drummer and was great live.
The Platters had one of the great singers, an immortal voice.
Bell and Martinez few have heard of, but both are worth listen and view. -
jjs4022 December 2001If you cruise by this one while channel surfing, your first instinct might be that this a B-grade science fiction movie. The acting and the script are more wooden than the furniture, but stick with it -- it's a vintage rock and roll gas.
Ignore the corny, predictable plot. Stick with the music of the Comets and the Platters. This music is timeless rock and roll. -
bkoganbing29 July 2010The man who gave rock and roll its anthem Bill Haley and his group the Comets together with the man who was the first disc jockey promoting the new sound Alan Freed are the featured people in Rock Around The Clock, the title of Bill Haley's greatest hit. A year earlier it had made its debut in The Blackboard Jungle and now Bill was getting his own film with this title.
As an actor Haley was a great musician, but he's not called for any heavy thespian lifting here. He and featured dancers Lisa Gaye and Earl Barton are discovered by Johnny Johnston who is a music booking agent who has realized the era of the big bands is dead and he's a loose ends. Seeing this and other groups at a local dance makes him realize what the new trend in music is and he looks to hook up with the biggest booking agent around who is an old flame of his Alix Talton.
Talton has the most interesting role in the film. In a film with a bigger budget they would have gotten Eve Arden for the role. She gives the film whatever verve it has acting wise.
But it's the musical acts that the movie-going public was putting down its money to see. This must have been a big drive-in movie attraction back in 1956. The young folk could just get out of their cars and dance and probably not pay attention to whatever plot the film has.
Ironically the man who was searching for that new sound made his living with the old sound. Johnny Johnston was a much married singer who came up around the same time Frank Sinatra did, but with hardly as much success. He sings not a note in a film that marked the end of performers like him unless they had Sinatra like reputations.
For fans of the early rock and roll era and rock and roll certainly proved it was here to stay. -
preppy-312 January 2008Promoter Steve Hollis (Johnny Johnston) is looking for a new act for teenage audiences. He comes upon Bill Haley and the Comets playing in a small town. They drive the teenagers wild and feature a brother/sister team (Earl Barton/Lisa Gaye) who do some incredible dancing to the music. He signs them up and immediately falls in love with Gaye (and vice versa). However the evil Miss Talbot (Alix Talton) loves Hollis herself. He spurns her so she sets out to to make sure that Haley, the Comets, Gaye and Barton can't get a job.
Really silly stuff with lousy dialogue chockful of 50s slang that just sounds ridiculous now. Everybody is so polite and nice to each other--even the "evil" schemes of Talbot are pretty mild. Also Johnston and Gaye fall in love in seconds! It's pretty creepy though--Johnston is easily old enough to be her father! None of this matters though. This shows Bill Hlaey and the Comets and the Platters performing and that alone makes this a valuable time capsule of the 1950s when rock and roll was starting to get popular. The groups ARE lip syncing to their songs (and pretty badly in the case of The Platters) but still... When the Platters sang "Only You" and "The Great pretender" this movie is just magic. The acting is pretty terrible (Bill Haley especially) but the songs are good, the movie is short and the dance routines between Barton and Gaye are really pretty impressive. Hard to believe that this was banned in some cities in the US when it first came out. In other cases some theatre owners told the projectionist to cut the sound when the music numbers came on! Check out the ending which says "The Living End"! Harmless and kind of fun. I give it a 6. -
Chase_Witherspoon11 June 2011Solid if not altogether dazzling rockumentary concerning Bill Haley and his Comets the subject of a surprisingly good-natured tussle between easy-going promoter (Johnston) and wily talent agent (Talton) who holds a unilateral affection for her old beau. Talton attempts to stymie the group's ascendancy as a ploy to win back Johnston, but his new girlfriend (the attractive and agile Gaye) is now firmly in the frame to take out marriage honours.
"Rock Around the Clock" is one of the first of its ilk, documenting the rise of the rock'n'roll phenomenon, and showcasing full length tunes by The Platters and The Comets, loosely bound by the soap-opera storyline. More a sound stage than a movie as such, it's an opportunity to capture some of the essence of the era painting the music, dancing and stylings as a 'radical' snub of the conservative establishment.
The cast is capable; leading lady Talton performs the female tycoon role well, Archer as her right-hand man is durable while affable singer/actor Johnston is a likable if light leading man. At barely 75 minutes it's compact, and would probably appeal to fans of Bill Haley's Comets or The Platters, both delivering several of their hits from the time. -
django-13 November 2004Journeyman director Fred Sears (also an actor in many films--I remember him from Charles Starrett westerns) was a good choice to direct this low-budget Sam Katzman-produced quickie, meant to cash in on the rock'n'roll fad and the celebrity of Bill Haley and His Comets. Sears gets right down to business and features the music throughout--with wonderful (mostly) mimed performances by Bill Haley of his classic early Decca recordings, which still rock out today. Also seen are the pioneering lounge-rocknroll band Freddie Bell and His Bellboys, who were fine entertainers in the Louis Prima vein and who provided Elvis with Hound Dog. A plot is woven into the film here and there to keep things moving, but the emphasis is on the music. Haley's friendly persona comes across well in his limited dialogue scenes, and the other characters in his band, such as sax player Rudy Pompilli, are quite animated, capturing a bit of what his live shows must have been like (probably much wilder than this film). Alan Freed also appears and is worked into the plot, and the Platters sing their two biggest hits. All together, it's an excellent time capsule into the early days of rock'n'roll, and it's a wonderful showcase for the great Bill Haley, who still has not received his due as a music pioneer. It's easy to see why the film caused riots when shown overseas. Don't miss it if you like Haley, Freed, and the glory days of rocknroll.
-
michaelRokeefe3 July 2000A lively, but not a factual description of the birth of rock 'n' roll. A couple of small time promoters break away from the big band way of life and stumble across a hot combo that packs a small dance hall.
Johnny Johnston, John Archer, Lisa Gaye and Alan Freed star. On screen musical performances by Bill Haley and his Comets, Freddie Bell and the Bellboys and the Platters make this one of the first feature films that concerns the beginnings of rock 'n' roll.
Enjoyable and fun to revisit. This has earned a cult following status in Europe. -
In this movie, a lifeless and somewhat ridiculous plot acts as a frame story to showcase some rock-and-roll bands when that kind of music was becoming popular in the 1950s. Young people in their rebellious stage like to shock their elders, so naturally we have a scene in which Bill Haley and the Comets perform at a prestigious and very proper girls' school, which scandalizes the matronly chaperones. The Comets wear suits and are clean-cut, singing songs without suggestive lyrics, but no matter, because the beat alone is indecent. So the movie has it both ways, allowing teenagers to enjoy the fantasy of shocking their elders, while the real elders watching the movie in the theaters would be reassured that rock and roll was quite harmless.
Part of the plot of this movie is that dancing is on its way out, by which is meant ballroom dancing. But the dancing done by teenagers to rock and roll is alive and well. It is basically jitterbug (also known as swing, boogie-woogie, and the bop). In a sense, however, this died too. Once the twist became popular in the early 1960s, partner dancing, in which couples make contact with each other, pretty much came to an end, to be replaced by various forms of free style, in which couples never touch each other. To see partner dancing any more, you either have to go to a country-western nightclub or to a dance studio where ballroom still lingers on.
Partner dancing in the movies is one of two kinds: either the dancers are professionals, or they are just barely able to shuffle around the dance floor. The reality would be somewhere in between, with amateurs doing a fairly decent job of cutting a rug. In this movie, the brother and sister who dance together are obviously professionals. They become part of the act with the Comets, the idea being that they will show teenagers at the performances how to dance to rock and roll, to break the ice and get others on the dance floor. Of course, all those supposedly novice teenagers who venture onto the dance floor are professional dancers themselves. In fact, having that brother-and-sister team dance like that in real life would intimidate ordinary would-be dancers, making it less likely for them to get out on the floor.
Unfortunately, most of the songs performed in this movie are not that good, and in several cases, no one dances at all, usually because the beat is too fast, even for professionals. There are a couple of good numbers from the Comets and a couple from the Platters. The rest are mediocre, which when combined with the boring plot make the movie a disappointment. -
DKosty12329 July 2010Alan Freed was at the top of the world of rock & roll in 1956. In three years he would become part of the first payola scandal being accused & convicted of accepting bribes to play records on his popular radio show. Right now, this movie is his first one & he plays a sort of Dick Clark type emcee as himself. This would be the first of 3 films he would do in 1956.
Johnny Johnston in his next to last screen role plays Steve Hollis whose real story as a rock & roll promoter is the loose basis of this movie. Alix Talton plays Corrine Talbot, a woman business person who is the bank roller for Hollis efforts to promote rock & roll. Alix voice reminds me of Eve Arden, but she is shaped differently than Eve.
What is really great about this movie is the music. This is top shelf early rock & roll with Bill Halley & The Comets doing the title track 3 or 4 different times & a couple of other numbers. The Platters are here too in top form & doing the classic "The Great Pretender". The music really takes a front seat here, the Hollis story is here just to hold the music together.
This movie is a little stronger than Rock, Rock, Rock which would be later this same year. Lisa Gaye is here as Lisa Johns, competing for the attention of Steve Hollis & actually winning the battle over Talbot. Johns would go on to do a lot of television roles after this film, her 10th on screen role. Her first appearance on screen was as one of the bobbysoxer's in Jimmy Stewarts Glenn Miller Story 2 years earlier. -
mike-262012 November 2009This is a magic film that captures the excitement of early rock n roll and the people who played it. Bill Haley and his comets are outstanding in what should be officially recognised as part of Movie history. The first ever rock n roll film to be made maybe a bit thin on the plot line, but makes up for it with its exciting dance scenes and thumping jumping music. Some previous comments have said they found the Lisa Gaye and Johnny Johnston characters age gap to be creepy. I didn't have a problem with this at all, as lots of young women married older men during the forties and fifties. Lisa Gaye was over 21 and Johnston was in his early thirties when the film was shot. "Rock around the Clock" is now out on DVD (not sure about the UK yet) and looks splendid in a re-mastered and restored edition that is well worth buying. Check out Earl Barton as Lisa's brother and dancing partner. Barton actually choreographed all the dance scenes and at the time was a much respected Hollywood choreographer. I'm giving this film a ten out of ten Daddio as it was the first and the best of the rock and roll films made during the fifties.
-
Lejink24 August 2017The 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. -
ken-lynne12 January 2008Although obviously not Academy Award material, this movie definitely reflects the beginnings of Rock and Roll in the mid 50's. I was in high school when this movie was first released and, naturally, as a teen, I thought it was totally "Cool". I never thought Alan Freed had much talent, on screen, and of course, he is remembered as having been a key figure in the "Payola" scandal of the late 50's. It was fun to see this movie again after so many years and it's a great addition to my collection. I was really enamored with Lisa Gaye, as a teenage boy and I had no idea she was the sister of Debra Paget until many years later but there is a definite resemblance. As for the dancing, it's fun and completely realistic of the time. My wife and I still jitterbug much the same way they did back then, even at our ages.
-
tavm29 September 2009After its inclusion in the hit film The Blackboard Jungle, the song "Rock Around the Clock" was such a smash hit that B-movie producer Sam Katzman decided to make a movie with that title and have the single's act, Bill Haley and the Comets, perform that one, "See You Later, Alligator" and a few others here. He also booked Freddie Bell and His Bellboys and The Platters for additional appeal. I wonder if this was the only time the latter group performed their hits, "Only You" and "The Great Pretender" for the big screen. It's mainly for what I cited above as well as being the first time that this was a picture that showcased Rock 'n' Roll nearly in its entirety that would give it interest today. Otherwise, it's just a mostly bland plot about a manager trying to give Haley and his combo their big break with complications like his former female manager girlfriend vs. his current one in teenage dancer Lisa Gaye. (Seeing him and Lisa suddenly kiss after just meeting gave me the creeps!) Also, the guy who coined the new music sound's name, Alan Freed, does his introductions when the acts come on. So on that note, Rock Around the Clock is well worth a look. Oh, and unlike the end of The Blackboard Jungle, when the title song here ended the movie, there was no Big Band flourish to finish it. P.S. While the one other musical act, Tony Martinez and His Band are good too, it's obvious that-as the plot implied-they have a different appeal, possibly to the potential "squares" in the audience. And one of the Platters-Paul Robi-was born in New Orleans which is a two hour drive from my current home town of Baton Rouge.
-
redx170824 January 2014this movie is really just an excuse for playing some music. The plot is thin bordering on non existent. A music promotor falls in love with one of Haleys dancers, and tries to win her by promoting Rock'n roll. We get Bill Haley, The Bellboys and The Platters to fill in while the plot unfolds. Ahh yes, there's also another promotor (female) who tries to prevent it all from happening. You really have to be a big fan of early Rock to sit through this rubbish. My 2 stars goes to the platters. These folks could really sing!!! But what were they doing in a rock'n roll movie ??? Those 2 songs seem completely out of place. Oh well, I guess something had to be done to save this piece of nonsense !
-
Hitchcoc12 December 2016When one sees Bill Haley and the Comets, we see a bunch of white guys, their leader with a spit curl on his forehead. The are portrayed as a band that has developed an incredible following. When a music producer tries to feature them, a bad guy moves in and tries to diminish their success. What this film is really all about, however, is to showcase Haley and the boys and allow us to see some other groups of the time. The Platters, who were an early group that crossed into the hot market of the fifties, are featured. Of course, even though this group plays in the film, the fact that black musicians had been doing rock for decades. Still, it's history and well worth a gander.
-
mark.waltz27 September 2015If it was up to powerful music agent Alix Talton, Bill Haley and the Comets would not have a chance of making it in the business. The big band era has apparently come to an end, even though the Glenn Miller story and the Benny Goodman story had just been huge box office hits at the movies. But according to the screenplay, big bands can't fill up even half a room. On their way home from a gig after disbanding a big band, Alan Freed discovers a small town where Saturday night dance is a big deal, and Bill Haley and the Comets apparently work for vegetables rather than cold hard cash. Introducing them to Talton, Freed wants to make them stars, but the only gig they get is a literal dance for squares at an all girls school where the stuffy faculty wants no part of the boomin rock and roll industry. But going against the school officials demands, the comets become a smash when they begin to swing. Their success doesn't convince Talton to book them in premier clubs, and it seems like their success will not happen. But thanks to Freed and his plan to get them a big gig, Talton's efforts go unsuccessful.
While the music here certainly is great, with the Comets performing the title song and other hits and a brief appearance by the Platters, there is something about this it just doesn't swing as far as true history is concerned. Big bands certainly were still around in the mid 1950's, and maybe if not making the top of the charts, they were certainly still successful. Even with the slight story however it is pretty fast moving and entertaining film. There seems to be no motivation on Talton's efforts to put out the Comet's fire before it even lights up. The only thing I can guess is that the writers wanted to show her at the power hungry females who love being able to make or break musicians, and this doesn't really give her character some motivation. So watch this for the music, if not the story or accuracy, and you might just lying there a passable time filler. -
unclerussie19 February 2003Ok, ok...so most of these movies were produced by guys too old and too square to dig the big beat. Stll, these films give is a good retrospective into the early days of rock and roll. Johnny Johnston give a fine performance as manager Steve Hollis, a guy looking for a new sound. He's come to the right place! Bill Haley and His Comets, performing in a small town dance hall, set him straight. The Platters, Freddie Bell and the Bellboys and Alan Freed also make appearances and Lisa Gaye is every guys idea of someone they'd like getting caught with in the back of a 53 Hudson. Only one question: how did Tony Martinez get in this picture? His latino selections are definitely out of place, but don't pass up this flick because of that. You'll enjoy Rock around the clock again and again.
-
LeonLouisRicci28 May 2012The problem of the 50's Rock n Roll movies is that you have to suffer through so much pablum and propaganda to get to a few bona fide Rockers, R&B, and justified archival songs.
This one has two songs from the Platters and two from Bill Haley. The rest is flatulent filler. Cringe inducing dialog and attempted hip talk from on and off screen squares. Unbearable performances from posers, wannabes, and opportunists.
Historians and fans should be grateful for the 10 minutes of irreplaceable, iconic and cool footage. The other 70 minutes are the corporate trappings only fit for the completest and the masochistic.
Some good jitterbugging from some professional teen-agers add some eye-candy but for the most part and this goes for all these types of films from the era, the movie studios and the adults just didn't get it and one doubts if they tried at all, except as a marketing mechanism. -
dougdoepke25 March 2012The movie's a good chance to catch R&R's anthem—Rock Around the Clock—done classic style by Bill Haley & His Comets. It's also a chance to catch the classic stylings of The Platters doing two of their biggest hits. Otherwise, the film's pretty forgettable. There's a rough backstory to connect the musical spots, which may also offer some insight into the industry, circa 1955. Otherwise the story is standard romantic stuff. The movie's release date indicates that brief period between R&R's inception and Elvis's meteoric rise, and so is unusual in that regard. One question—why the recurring dance act (Gaye & Barton)? They're good lively dancers, but didn't the producers think the new beat was enough. Anyway, to my knowledge, this was the first R&R movie, and a good opportunity to view the style in its pre-Elvis period.