disinterested_spectator 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.

DKosty123 Alan 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.

tavm After 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.

Woodyanders Shrewd big band manager Steve Hollis (a solid performance by Johnny Johnston) and his easygoing musician buddy Corny LaSelle (a delightfully engaging turn by Henry Slate) discover the rock'n'roll band Bill Haley and His Comets in a small town and immediately realize that their style of music is the next major trend. Hollis convinces Haley and his group to come to New York City where they are sure to be a smash. However, snippy talent agency head Corinne Talbot (an amusingly catty portrayal by Alix Tilton) tries to foil 'em. Director Fred E. Sears relates the simply, yet effective story at a constant brisk pace and retains a good-natured tone throughout. Moreover, Sears astutely nails the infectious sense of burgeoning excitement of the initial groundbreaking rock era; there's a sweet charm, fresh innocence, and go-for-it enthusiasm to the whole scene that's a total disarming joy to behold. Better still, the music acts featured herein really deliver the bouncy and stirring goods: Haley and His Comets cut loose with such classic tunes as "See You Later, Alligator" and the terrific titular gem, the Platters impress with the transcendent double whammy of "Only You" and "The Pretender," Freddie Bell & His Bellboys come through with several jaunty finger-snapping ditties, and Tony Martinez adds a little spice with his tasty Latino numbers. Lisa Gaye provides the radiant and enticing love interest as smart and sassy dancer Lisa Johns. The cool hepcat slang-ridden dialogue is like the mostest, daddy-o! Pioneering disc jockey Alan Freed makes a welcome appearance as himself. Benjamin H. Kline's crisp black and white cinematography uses nifty superimpositions in a few snazzy montage sequences. An immensely enjoyable romp.