Rock Around the Clock (film)
| Rock Around the Clock | |
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| Directed by | Fred F. Sears |
| Produced by | Sam Katzman |
| Written by | Robert E. Kent |
| Starring |
Bill Haley and His Comets Alan Freed The Platters Freddie Bell and the Bellboys |
| Cinematography | Benjamin H. Kline |
| Edited by | Saul A. Goodkind Jack Ogilvie |
| Distributed by | Columbia Pictures |
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Release date
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Running time
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77 minutes |
| Country | United States |
| Language | English |
| Box office | $1.1 million (US) |
Rock Around the Clock is the title of a 1956 musical film that featured Bill Haley and His Comets along with Alan Freed, the Platters, Tony Martinez and His Band and Freddie Bell and His Bellboys. It was produced by B-movie king Sam Katzman (who would produce several Elvis Presley films in the 1960s) and directed by Fred F. Sears.
The film was shot over a short period of time in January 1956 to capitalize on Haley's success and the popularity of his multimillion-selling recording "Rock Around the Clock" that debuted in the 1955 teen flick Blackboard Jungle, and is considered the first major rock and roll musical film.
Rock Around the Clock tells a highly fictionalized rendition of how rock and roll was discovered. As band manager Steve Hollis observes that big band dance music is failing to draw audiences any longer, he comes across a new sound that piques his interest. While traveling through a small farming town, he attends the local teenage dance and is introduced to rock and roll music and dancing, in the person of local band Bill Haley & His Comets and their associated dancers. Convinced that rock and roll will be the next big thing, Hollis strikes a deal to manage the group and also strikes up a romance with dancer Lisa Johns.
Hollis then turns to agent Corinne Talbot, who handles bookings for nearly all of the venues in which Hollis needs the band to play to gain them exposure. Talbot's primary interest in Hollis, however, is to have him marry her, and she's determined to prevent him from succeeding without his working directly for her agency. First, she books the band into a traditionally conservative venue, expecting them to reject the band's brash new sound. But instead, the dancers there are excited by the music and embrace it enthusiastically. Next, Talbot simply blacklists Hollis and his acts from the venues she controls. But Hollis maneuvers around her by calling in a favor owed to him by disc jockey Alan Freed. The resulting booking in Freed's venue grants the Comets the exposure they need in spite of Talbot's efforts.
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Wikipedia