A series of publicity photographs taken during the making of 'Loving You' at Lizabeth Scott's home, Hollywood when Elvis and Dolores Hart visited.
Notice the x over Lizabeth Scott, was this done by Colonel Tom Parker?
The time on the clock in the background reads 4.40pm
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Elvis and Lizabeth Scott hold the Photoplay award.
Elvis had been chosen by Photoplay magazine as a recipient of its "Stars of 1957" award. Photoplay's award banquet was broadcast live by NBC-TV from the Beverly Hills Hotel the evening of February 7, 1957. On hand were other award winners, among them Rock Hudson and Kim Novak. Elvis, who was filming Loving You in Hollywood at the time, did not attend the banquet. Elvis holds the award for the camera with co-star Lizebeth Scott.
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Hal Kanter, Wendall Corey, Elvis and Hal Wallis in discussion. The location is the restaurant and the scene is where Walter and Deke talk about management.
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Elvis playing with a 'Official Elvis Presley Guitar’, and a photo of a similar official guitar from 1956.
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Elvis in the 'Teddy Bear' production number, with his Gibson J-200 guitar
Lots more info here:
http://www.scottymoore.net/56J200.html'Mean Woman Blues'
A photo from the production number 'Mean Woman Blues' which was featured in the ftd book 'Flashbook', although it was reversed in the book.(Below)
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(Above) Publicity photographs with Elvis without shoes
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Rehearsal of the Jukebox segment of the 'Mean Woman Blues' number (Above)
Rehearsing the 'Mean Woman Blues' number with Hal Kanter and Charles O'Curran foreground.(below)
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Dean Martin's daughters pictured with Elvis around the time 'Mean Woman Blues' production number was being filmed, Barbara Gail, Deana, Elvis and Claudia Dean, dated around the 11th of February 1957.
Deana Martin (Dean Martin's Daughter): He came home and told us girls "Put something nice on tomorrow , you're coming to the studio with me, Elvis Presley wants to meet you”, Gail and Claudia and I looked at each other in disbelief. Off we went to Paramount the next day, so exited we could barely speak. Elvis was utterly charming, and even more handsome than in his movies. He came riding towards us on a bicycle, dismounted and says, "Hey Dean" in his melodic Memphis accent "Now these beautiful girls can't be your daughters "Blushing, giggling, we were each introduced to him as someone took photographs and recorded the moment for history. It is one of my most cherished pictures.*
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Dolores Hart on the kiss with Elvis: We shot the kissing scene the very first day of production (around the 22nd January 1957) I remember Hal Kanter shouted 'cut! he said we have to do it again, and I asked why, and he said "Because your ears are too red", "You're blushing from where your make-up starts all the way back to your neck", so they had to re do the make-up and we shot it again. This time they stopped it because Elvis' ears were red. He was hysterical, he laughed and said, “I’m not blushing, it must be the lights", "he said "I'm just having a darned good time!".(*)
Interview with Dolores Hart, (beware bad picture quality)
http://www.youtube.com/watch?v=BKGmDifYq6033.
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Elvis and Dolores Hart .The scene is as Deke ends the Final version of 'Loving You'.
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(Above) Rehearsal for the final song 'Got A Lot O' Livin To Do'. Note the runway is not in position
(Below) Publicity photograph. The date for this production number is February 21-22 1957
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Jana Lund, Yvonne Lime and Dolores Hart (Above)
Yvonne visited Elvis in Memphis on the Easter break. Numerous photos were taken of the pair at Graceland and film of them when they visited Sam Phillips home:
http://www.youtube.com/watch?v=Z83MYFG3 ... re=relatedSaturday April 19th 1957
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Yvonne Lime and Elvis (below)
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(Below)Elvis has a chat during a break as Yvonne Lime can be seen in the background.
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Gladys and Vernon Presley arrived in Hollywood at the beginning of February along with their friends the Nicholses.
Vernon apparently asked the officer at the Paramount gate, 'Howdy,officer,can you tell me how to get into this place? We've got a boy working here”. Vernon was wearing a light-colored suit, round-brimmed, pushed back hat, and a too-short tie bunched up by an ornamental tie clip, while Gladys wore a simple pinned back hat and an elegant new jacket over a dark dress.
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I finally used them in the picture itself. And if you have a sharp eye, you can see that Gladys and then Vernon and there were two people sitting next to them. And that was the house painter and his wife. They went everywhere. They seemed to be moral support of body or body guards or what... I don't know. I never saw the Presleys without those two people with them.
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Charles O'Curren gives stage direction to Elvis
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Actor and singer Sal Mineo with Elvis
Sal Mineo's breakthrough came in the movie 'Rebel Without A Cause' in which he played John "Plato" Crawford, alongside James Dean. His performance resulted in an Academy Award nomination for best supporting actor. On February 12, 1976, Mineo was stabbed to death in the alley behind a West Hollywood apartment building, he was 37 years old.
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Hal Kanter gives direction to Elvis whilst Lizabeth Scott looks on
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Elvis and Charles O'Curran
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Charles O‘Curran: The film 'Loving You' was at first titled Lonesome Cowboy. Presley argued us out of that, aided by his manager, Colonel Tom Parker. Elvis just told us in his soft Tennessee drawl, “I’m not a cowboy singer, I sing hillbilly, and there's a mite of difference between the two styles. I wear dungarees, but that doesn't make me a cow-puncher!"
Fair enough, we thought, so the title of the picture was changed, but we kept in the song 'Lonesome Cowboy’. That was my doing. I had picked the tunes for him carefully - and it was never that easy finding numbers for him, ones that would suit this style of singing. I knew he would like 'Lonesome Cowboy' and I would want to sing it when he saw the production I had built up around it.
It's not a cowboy song so much as a dramatic ballad, I told him. Elvis didn't look too happy. "I'm not all that good at ballads" I remember him saying. So I reminded him what a hit 'Love Me Tender' had been. He didn't show much emotion. Flattery got little reaction from him. He just thanked me for my complimentary remark, but he heard the song and got to like it. By the time we came to put it into the picture - and it proved one of the highlights of Loving You, he was crazy about it.
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Roy C. Bennett: I have a theory about Lonesome Cowboy. The song was written for the movie, but I believe it was chosen for that particular spot in the movie as an example of a song that Elvis should not sing. If you remember the movie, when he sings Lonesome Cowboy the audience is very lukewarm. Then he sings an up-tempo song and the audience goes wild. We never met Elvis in person or attended any of his recording sessions. We worked in New York on the scripts that were sent to us from California. There were other writers who went to California and became friendly with Elvis, and they were among our most successful competitors. Obviously, being right there and privy to the latest information about the song requirements gave them a great advantage over the rest of us.(*)
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Hal Kanter has fun with Elvis!
Hal Kanter talks about the photograph:
http://www.youtube.com/watch?v=_gnJS1g_ ... re=channel 7.00mins
This is curious image, Hal Kanter describes it - "That was part of a montage we were doing to show the progress that he was going through, y'know from one step to another in his rise to fame". The only problem is that in the finished movie, Elvis is wearing his denim jacket - therefore for some reason they re-shot this sequence.
Hal continues “The lighting guys were setting up the shot and Elvis said something to me - I don't remember what it was - and I stuck my face through his legs..he was up on a table or something and it was just at the time the still photographer grabbed the shot".(*)
Colonel Parker didn't like the shot and had put an 'X' through the proof sheet.
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Dolores Hart: (Elvis's parents) they were very very lovely people. They had a small part in the picture. His mother was so dear to him.
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Hal Kanter - And after one take... On the back lot we were working one night. And we'd finished the scene, and we were shooting night for night. And I said, "As long as you're, you know, Gladys while you're here," I said, "Why don't you stand in front of the camera, and we'll run a few feet off of you, and you and your son and your husband. And you'll see it tomorrow in the dailies." And she said, "Oh, I don't -- I don't know..." And Elvis said, "Come on, Mom. Come on. Come on." And they finally all got in front of the camera. And they did a little something. Whatever it was escapes me. And when I said, "Cut," she said, "Oh." She was so grateful. She was very embarrassed to be in front to the camera. She wanted her friends to be on the camera too. But I said, "That's enough. No more." The next day, they saw the dailies, and she was just embarrassed just to see herself. She thought that she looked heavy which she was. But Vernon seemed to be very pleased with it. Vernon had the feeling that he probably could be an actor himself, you know. But that little piece of film is probably a very valuable piece of film, you know, to aficionados and Elvis freaks. But nobody’s ever able to find it. I think that he, himself, got a hold of that film sometime later and had it destroyed. Because nobody could find it anywhere.
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Hal Kanter: Vernon and Gladys came out to Hollywood to spend some time with Elvis. And he asked if they could come on the set. And I said, "Of course they could." And they showed up with another couple, friends of theirs from Memphis whom Vernon introduced as their decorator. It turns out this man was a house painter. And I remember him because he was wearing a brand new hat. And it had no creases in it at all, just at hat just taken out of a hat box. And he wore that. And he had a white shirt buttoned at the collar but no tie. And I'd seen very few people dressed that way. And he fascinated me. I never heard the man say one word. But Gladys and Vernon both were rather quiet people.
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Elvis, Hal Kanter and unknown,
On the last day of shooting, I decided to give a cast party. And I made all the arrangements to get one of the sets of a picture that Cornell Wilde was doing at the time***. And he had finished with his set, a nightclub set. And I asked them, "Please, leave that set alone, so we can have our cast party there." And I had paid for everything. The last shot was with Elvis and Liz Scott. And early on, little by little, as the cast was being dismissed, everybody go across the lot to the party near the commissary. When finally the show was wrapped, Elvis and Liz and I walked across to the stage. And the party was in full swing. And there was a big boot there with a great big sign saying, "Elvis and the Colonel, thank you all." And he was standing there giving out autographed pictures of Elvis printed, you know, little 4 x 5's. He was also giving out lottery tickets, because he was going to raffle off an Elvis album and also a phonograph which had been donated by RCA I guess. And that cast party which cost me several thousand dollars out of my own pocket became his farewell party to the cast and crew. That's typical of him.
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Elvis and Dolores Hart in rehearsal for the scene where Deke throws the teddy bear to Bill Black.(Dolores isn't wearing the clothes she's wearing in the movie.)Friday February 1st 1957
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On Location at Jessup Ranch, north of Hollywood.
February 27th 1957
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Dolores Hart: I did not want to mix dating and that sort of thing with business or work. I didn't think it was appropriate to do that. I didn't want to diminish him while we were making a movie, he was the star, and I was just starting out. I had no intention of pumping up my career by hanging onto his coat-tails. I figured that if I was worth something it was because I was good enough actress.**
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