This golden oldie film, while somewhat shallow in the plot category, is nothing more than just plain entertainment. It consists mainly of good fifties rock n roll music by original artists of the day which really makes the film a joy to view. Also, unlike most of the teenage films of that time, some scenes show kids who are genuine teenagers rather than 20 or even 30 something adults pretending to be teens. This really adds a touch of quality to the movie. Besides the music, the anti-rock n roll adults add to the enjoyment as well. Although their respective rolls may have been intended to be mainly villainous, they come across as so ludicrous in their actions that they are truly funny. This is a movie for fun and enjoyment and not to be taken seriously.
10 Reviews
Shake, Rattle & Rock! is quite an enjoyable Rock 'n' Roll programmer
tavm22 March 2017
The premise of this film seems to have been inspired by the trials of real-life DJ Alan Freed and his attempts to bring Rock 'n' Roll to the mainstream despite protests by many of the older generation. Mike "Touch" Connors plays the role based on him and the opposition consists of Douglass Dumbrille and Margaret Dumont-both veterans of Marx Brothers movies. They, along with Sterling Holloway and other familiar character actors, provide some comic counterpoint in the proceedings. Fine musical performances by Fats Domino, Big Joe Turner, Tommy Charles, and Annitta Ray. Director Edward L. Cahn helms a zippy 75-mimute B-feature to its natural end, which wasn't surprising to me since I knew he made some good-and not so good-Our Gang shorts at M-G-M during its latter stage in the '40s. Oh, and the leading lady is Lisa Gaye who I remember being in Rock Around the Clock from a few years previous. So on that note, Shake, Rattle, and Rock! is worth a look for anyone interested in both the vintage musical performances and the amusing character turns throughout. P.S. Since I always like to cite players from my home state of Louisiana, here it's Fate Domino from New Orleans.
Typical 50's Rock and Roll exploitation flick
bux10 October 1999
Before he was "Mannix" Mike Conners was billed as 'Touch' Conners and did this little 50s exploitation flick, that he would probably love to forget. It's the old saw about the older generation trying to put a halt to R&R, and the kids proving that it is just good, clean fun, as the jitterbug, black-bottom, etc. Somehow Sterling Hollaway (Waldo from "The Life of Riley") just doesn't measure up as the jive talking, smooth hipster, done so well in the 50s by Edd (Kookie) Byrnes. Fats and a few other groups that have since passed into obscurity perform some prehistoric tunes and the acting is sophomoric at best. A good one to watch-only if you are in the midst of a tremendous battle with your significant other or suffering a severe tooth-ache.
Mannix rocks
BandSAboutMovies21 July 2020
Warning: Spoilers
Edward L. Cahn made everything from Our Gang shorts to It! The Terror from Beyond Space and The Four Skulls of Jonathan Drake. He also made this "rock 'n roll vs. the squares" movie that features Fats Domino and Big Joe Turner.
Playing on a double bill with Runaway Daughters, this was but the start of American-International Pictures reaching out to the teens or more like reaching into their wallets. Most of the films follow the Arkoff Formula:
Action (exciting, entertaining drama) Revolution (novel or controversial themes and ideas) Killing (a modicum of violence) Oratory (notable dialogue and speeches) Fantasy (acted-out fantasies common to the audience) Fornication (sex appeal for young adults)
You get a pre-Mannix Mike Connors, Lisa Gaye (who is also in Rock Around the Clock), "fifth Marx Brother" Margaret Dumont and plenty of actors who'd been around Hollywood since before sound was in movies. No matter. The real action here is when the kids defend rock and roll against the old timers in a TV trial.
In 1994, this movie was remade as part of the Rebel Highway series of AIP remakes on Showtime. The new version, directed by Allan Arkush, featured Renee Zellweger in the lead and appearances by Howie Mandel, Max Perlich, the R&B band For Real, Gerrit Graham, John Doe, Riki Rachtman, Nora Dunn, Mary Woronov pretty much playing Ms. Togar from Rock 'n Roll High School, P.J. Soles playing a square with the last name of Randall (who I sure hope isn't Riff all grown up) and Dick Miller.
Playing on a double bill with Runaway Daughters, this was but the start of American-International Pictures reaching out to the teens or more like reaching into their wallets. Most of the films follow the Arkoff Formula:
Action (exciting, entertaining drama) Revolution (novel or controversial themes and ideas) Killing (a modicum of violence) Oratory (notable dialogue and speeches) Fantasy (acted-out fantasies common to the audience) Fornication (sex appeal for young adults)
You get a pre-Mannix Mike Connors, Lisa Gaye (who is also in Rock Around the Clock), "fifth Marx Brother" Margaret Dumont and plenty of actors who'd been around Hollywood since before sound was in movies. No matter. The real action here is when the kids defend rock and roll against the old timers in a TV trial.
In 1994, this movie was remade as part of the Rebel Highway series of AIP remakes on Showtime. The new version, directed by Allan Arkush, featured Renee Zellweger in the lead and appearances by Howie Mandel, Max Perlich, the R&B band For Real, Gerrit Graham, John Doe, Riki Rachtman, Nora Dunn, Mary Woronov pretty much playing Ms. Togar from Rock 'n Roll High School, P.J. Soles playing a square with the last name of Randall (who I sure hope isn't Riff all grown up) and Dick Miller.
Little Thrill On Blueberry Hill Or Elsewhere
atlasmb21 June 2023
The characters in this film are all caricatures, exaggerations of contemporary archetypes. With its juvenile sense of humor, it's a common characteristic of many drive-in B-movies of its day--like the silly beach films that would soon follow---but this film is a very amateurish production, in part due to its extremely low budget.
The music in the film deserves a better showcase.
The story is about a teen hangout called the Black Eagle Club, where troubled youths can channel their time into wholesome pursuits. The guys who run it also promote a local TV dance show where the kids listen to early rock and roll and swing dance.
A group of older adults mobilizes to stop the dancing and the music on grounds that such teenage activities lead to bad behavior. Of course the jitterbug has already been around since the thirties, so the issue is a little dated, but some adults really were concerned about the influence of Elvis, who had already been on the national scene for a few years. Fats Domino, and Big Joe Turner (who had also been around since the thirties), are featured in the film, though they are already somewhat passé by 1956.
The best moments of the film are the upbeat musical sections, like the boogie woogie, and the talented dancing. Petticoats fly as Rosie and Carlos, especially, take to the floor. But most of the music is not presented in its best light.
The worst aspects of the film are the canned laughter and the ridiculous portrayal by Sterling Holloway, who is supposed to be a jive-talking hipster. The dialogue he is given is embarrassing and annoying. There is also another actor doing an impersonation of Sheldon Leonard in a performance that adds nothing to the story.
In the end, the film features an on-air showdown between the blue-nosed adults and the teens that is supposed to be an actual legal procedure to determine which side is justified.
The music in the film deserves a better showcase.
The story is about a teen hangout called the Black Eagle Club, where troubled youths can channel their time into wholesome pursuits. The guys who run it also promote a local TV dance show where the kids listen to early rock and roll and swing dance.
A group of older adults mobilizes to stop the dancing and the music on grounds that such teenage activities lead to bad behavior. Of course the jitterbug has already been around since the thirties, so the issue is a little dated, but some adults really were concerned about the influence of Elvis, who had already been on the national scene for a few years. Fats Domino, and Big Joe Turner (who had also been around since the thirties), are featured in the film, though they are already somewhat passé by 1956.
The best moments of the film are the upbeat musical sections, like the boogie woogie, and the talented dancing. Petticoats fly as Rosie and Carlos, especially, take to the floor. But most of the music is not presented in its best light.
The worst aspects of the film are the canned laughter and the ridiculous portrayal by Sterling Holloway, who is supposed to be a jive-talking hipster. The dialogue he is given is embarrassing and annoying. There is also another actor doing an impersonation of Sheldon Leonard in a performance that adds nothing to the story.
In the end, the film features an on-air showdown between the blue-nosed adults and the teens that is supposed to be an actual legal procedure to determine which side is justified.
interesting and fun 50s flick
johnc21414 June 2010
Although not a blockbuster,shake rattle and rock is an interesting and fun 1950's movie about the older generation trying to stop rock and roll dancing teens.a short movie and made by the great American international pictures,which is why i wanted to check it out.touch(mike)Conner's who made numerous aip pictures like voodoo woman,swamp women and later on TVs mannix plays a TV disc jockey announcer,the plot is very simple a group of older people led by margerat Dumont try to stop the rock and roll lifestyle,claiming it leads to juvenile crime.yeah we all heard that before.then there's the beautiful and cute Lisa Gaye as the love interest of the TV DJ.who happens to be Dumont's daughter.then there's some great performances by the legendary fats domino,playing himself.aip was wise to cash in on the rock and roll trend of the 1950s,this proved big money at the drive in box office and led to many more.and this was one of the first aip movies,it is a fun movie and its well worth watching.kudos to Samuel z arkoff,James Nicholson,Lou rusoff,and American international pictures for this little gem.8 out of 10
hokey and totally enjoyable
lee_eisenberg4 December 2006
It seems like there have been lots of movies portraying stuffy adults not caring for rock 'n' roll, or even considering it evil. In that respect "Shake, Rattle & Rock!" is nothing new. But the movie makes no pretense about just being an excuse to have fun. And anyway, how can you not like seeing Fats Domino? The plot has a TV show host (Mike Connors) hiring teen delinquents for his show to prove that they can change their ways through rock 'n' roll. Sure enough, the straight-laced senior citizens want to outlaw this new music.
Obviously, there are some scenes in this movie that will probably make us cringe in the 21st century. Aside from the footage of the African dance treated as subhuman, there's no racial mixing in the bands. But as long as we understand that, the movie's really cool. It's another reminder that - contrary to what the staid old people would have us believe - rock 'n' roll will live forever! And I even think that I could see up some of the girls' dresses...
Also starring Sterling Holloway and Margaret Dumont (of the Marx Brothers' movies).
Obviously, there are some scenes in this movie that will probably make us cringe in the 21st century. Aside from the footage of the African dance treated as subhuman, there's no racial mixing in the bands. But as long as we understand that, the movie's really cool. It's another reminder that - contrary to what the staid old people would have us believe - rock 'n' roll will live forever! And I even think that I could see up some of the girls' dresses...
Also starring Sterling Holloway and Margaret Dumont (of the Marx Brothers' movies).
It's got Joe Turner and Fats Domino!
roy-c30 April 2006
Well, I bought the DVD so I have to say that I like it. Solely because it's got Big Joe Turner in it along with Fats Domino. They're miming to what appear to be new versions of some of their own tracks. Just watching Big Joe "singing" is enough to get my vote. They're so little of him in his prime that I'm really grateful for anything I can get. Has an amusing call and response section with the young white teenage audience. And then he "appears" on TV. Fats Domino is his usual impeccable self. The plot and acting is all very silly but worth it for the brief performances. Has Margaret Dumont in as well with a wimpish husband although "the worm turns" by the end.
Good even when Fats Domino and Joe Turner aren't on screen!
mgconlan-129 May 2013
The early omens on this one weren't good; American International generally made lousy movies aimed mostly at the drive-in audience (and this was only their third year in operation), the director was Edward L. Cahn and the writer was Lou Rusoff, who was usually associated with American International's rather silly horror movies. Surprise! "Shake, Rattle and Rock" turned out to be a little gem, with two of the all-time greats of rhythm and blues, singer Joe Turner and singer-pianist-composer Antoine "Fats" Domino, and a plot that was genuinely entertaining in and of itself and wasn't just a way to mark time between the musical numbers. While other 1950's rock movies occasionally touched on the controversies over rock and the determination of some moralists to shut it down, Lou Rusoff decided to make the controversies the focal point of his film. It opens in the studio of a local TV station, where Garry Nelson (Touch Conners, the young, personable actor who later became a surprisingly credible private detective on the long-running CBS-TV series Mannix) is hosting a rock 'n' roll TV show with a group of teenage kids he's been able to pull off the streets and away from a life of crime by harnessing the righteous power of this music to lure them into wholesome recreation. Right now in the (unnamed) city where the film takes place he's built 78 rock 'n' roll clubs and got the young people in them interested in raising money for "safe" social causes. His latest project is to take over an abandoned building and turn it into a teen center.
But he's run afoul of self-appointed moralists Eustace Fentwick III (Douglass Dumbrille) and Georgianna Fitzdingle (the marvelous Margaret Dumont — so two supporting players in this film have Marx Brothers connections!), who organize a group with a tongue-twisting name to fight back against rock 'n' roll by organizing petitions and letter-writing campaigns to get the TV station to take Nelson's show off the air. He's also run afoul of gangsters Bugsy Smith (Paul Duboy, proving that they didn't break the mold after they made Sheldon Leonard) and his comic-relief sidekick Nick (Eddie Kafafian), who are upset that Nelson's rock 'n' roll clubs have turned potential hoodlums towards more constructive pursuits and thereby deprived Bugsy's gang of its biggest pool of young talent. Of course, Nelson has his own comic-relief sidekick, Albert "Axe" McAllister (Sterling Holloway, whom writer Rusoff and director Cahn try to pass off as a teenager even though he was already making movies in the early 1930's, before any authentic teenager alive in 1956 was even born!).
Fats Domino does two of his biggest hits, "Ain't That a Shame" and "I'm in Love Again," as well as "Honey Chile" (a song I've always liked that didn't get the attention it deserved because it was the flip side of an even greater Domino record, "Blueberry Hill"), and Turner sings "Feelin' Happy" — a rock adaptation of the 1930's Kansas City blues standard "Do You Wanna Jump, Children?" — twice, once over the opening credits and once on screen. He also does "Lipstick, Powder and Paint," "The Choker" and "Rock, Rock, Rock." The one white rock performer we see, Tommy Charles (doing a song by Wayne Walker called "Sweet Love on My Mind"), is O.K. but quite obviously not anywhere in the same league as Domino and Turner. "Shake, Rattle and Rock" turned out to be a minor gem, a genuinely entertaining movie even when Fats Domino and/or Joe Turner weren't on screen!
But he's run afoul of self-appointed moralists Eustace Fentwick III (Douglass Dumbrille) and Georgianna Fitzdingle (the marvelous Margaret Dumont — so two supporting players in this film have Marx Brothers connections!), who organize a group with a tongue-twisting name to fight back against rock 'n' roll by organizing petitions and letter-writing campaigns to get the TV station to take Nelson's show off the air. He's also run afoul of gangsters Bugsy Smith (Paul Duboy, proving that they didn't break the mold after they made Sheldon Leonard) and his comic-relief sidekick Nick (Eddie Kafafian), who are upset that Nelson's rock 'n' roll clubs have turned potential hoodlums towards more constructive pursuits and thereby deprived Bugsy's gang of its biggest pool of young talent. Of course, Nelson has his own comic-relief sidekick, Albert "Axe" McAllister (Sterling Holloway, whom writer Rusoff and director Cahn try to pass off as a teenager even though he was already making movies in the early 1930's, before any authentic teenager alive in 1956 was even born!).
Fats Domino does two of his biggest hits, "Ain't That a Shame" and "I'm in Love Again," as well as "Honey Chile" (a song I've always liked that didn't get the attention it deserved because it was the flip side of an even greater Domino record, "Blueberry Hill"), and Turner sings "Feelin' Happy" — a rock adaptation of the 1930's Kansas City blues standard "Do You Wanna Jump, Children?" — twice, once over the opening credits and once on screen. He also does "Lipstick, Powder and Paint," "The Choker" and "Rock, Rock, Rock." The one white rock performer we see, Tommy Charles (doing a song by Wayne Walker called "Sweet Love on My Mind"), is O.K. but quite obviously not anywhere in the same league as Domino and Turner. "Shake, Rattle and Rock" turned out to be a minor gem, a genuinely entertaining movie even when Fats Domino and/or Joe Turner weren't on screen!
More Plot Than Expected
dougdoepke4 October 2020
A more accurate title might be Sterling Holloway Showcase. In fact, it's his silly mug and goofy shenanigans that get the most screentime. On the other hand, viewers expecting a Fats Domino showcase may be disappointed in his brief screen time, limited to two of his most popular song hits. The flick's got more plot than expected as various public factions battle over R&R's moral acceptability, a lively issue at the time (1956). Critics allege that the uninhibited sounds lead to immoral conduct, while defenders show how it provides an avenue into constructive activities when dances are organized into do-gooder clubs. This last unfortunately comes across as a stab at respectable contrivance. After all, why is R&R any more disreputable than the equally lively jitterbug of the 40's.
Whatever the entertainment value, the cast is full of familiar faces from the 40's- the gnome-like Percy Helton, Groucho Marx's favorite foil Margaret Dumont, arch-villain Douglas Dumbrille, and a few others. In that sense, the flick's a sort of odd blending of old and new.
Anyway, as someone coming of age during that period, I really enjoyed seeing pretty girls in swishy skirts twirling across the dance floor. And how well I remember R&R exploding on the teen scene, it's hedonistic bent a welcome contrast to years of war and needed conformity (WWII, Korea, and the ongoing Cold War). But as a showcase of hit music from the era the movie's limited at best, despite the title.
Whatever the entertainment value, the cast is full of familiar faces from the 40's- the gnome-like Percy Helton, Groucho Marx's favorite foil Margaret Dumont, arch-villain Douglas Dumbrille, and a few others. In that sense, the flick's a sort of odd blending of old and new.
Anyway, as someone coming of age during that period, I really enjoyed seeing pretty girls in swishy skirts twirling across the dance floor. And how well I remember R&R exploding on the teen scene, it's hedonistic bent a welcome contrast to years of war and needed conformity (WWII, Korea, and the ongoing Cold War). But as a showcase of hit music from the era the movie's limited at best, despite the title.
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