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Viva Las Vegas

Viva Las Vegas

Music · Romance · Comedy · 1964

Lucky Jackson arrives in Las Vegas with his car literally in tow ready for the first Grand Prix — once he has the money for an engine. He gets the cash easily enough but mislays it when the pretty pool manageress takes his mind off things. It seems he'll lose both race and girl, problems complicated by rivalry from womanizing fellow racer Elmo Mancini.

Movie details

Viva Las Vegas

“Elvis is at the wheel but Ann-Margret drives him wild!”

1964 Music · Romance · Comedy 1h 25m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

Lucky Jackson arrives in Las Vegas with his car literally in tow ready for the first Grand Prix — once he has the money for an engine. He gets the cash easily enough but mislays it when the pretty pool manageress takes his mind off things. It seems he'll lose both race and girl, problems complicated by rivalry from womanizing fellow racer Elmo Mancini.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Viva Las Vegas?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

George Sidney

Written by

Sally Benson

Elvis Presley

Elvis Presley

Lucky Jackson

Ann-Margret

Ann-Margret

Rusty Martin

Cesare Danova

Cesare Danova

Count Elmo Mancini

William Demarest

William Demarest

Mr. Martin

N

Nicky Blair

Shorty Fansworth

R

Robert Aiken

Driver (uncredited)

Don Anderson

Don Anderson

Wedding Guest (uncredited)

Court is in session

Put Viva Las Vegas on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.