I like the storyline of this show,it attract me so much

the audience applauded

Dreadfully Boring

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

Elvis Presely was deemed to be about the only sure thing in movies as a bankable star when Allied Artists paid Elvis the the great salary of one million dollars to star in this film. Norman Taurog directs this film in a breezy style and the movie while a AA film was produced at nearby Paramount.Allied Artists was a boutique studio with films such as Love In The Afternoon, Friendly Persuasion, Soldier In the Rain, El Cid, and 55 Days At Peking, etc. AA had a small studio and no TV division and its fates rose and fell with its movies competing with giant studios such as MGM, 20th Century Fox and Warner Bros. Some of the major film personalities that worked at AA were Gary Cooper, Audrey Hepburn, Steve McQueen, Ava Gardner, David Niven, and Sophia Loren. AA would go on to film Cabaret with Liza Minnelli, Pappillion with McQueen, and The Man Who Would Be King with Sean Connery. Directors such as William Wyler, John Huston and Billy Wilder contributed to the success of AA.

The deadening treadmill of cookie-cutter Presley vehicles, foisted upon him by his "mentor" Col. Parker, continues here with both good and bad results. Presley plays a singing rodeo rider who finds himself working at a ranch where zaftig women go to peel away pounds. It's run by Adams, who has her sites set on him and is also home to exercise instructor Lane, who is more skeptical, at least at first. Presley's roomie is dim bulb fellow hand Mullaney while his chief antagonist is jealous swim instructor Faulkner (who sports one really awkward-looking and unappetizing set of swim trunks hoisted up practically to his chest!) Presley has to fend off the female guests of the ranch who are hungry not only for steak, but for him, while Lane searches in vain for a fortune her grandfather left behind in a nearby western ghost town. It all comes to a head in a protracted finale that seems more like a very bad episode of "Scooby Doo" than a piece of musical froth. Presley lopes through the film with varying degrees of interest, lip-synching to songs he had recorded months and years prior (a symptom of the low budget of the project), not that it stands out too much to the casual viewer. It's just that the songs bear virtually no relation to anything and there's not even a title tune. The script is preposterous, so Presley goes along for the ride as well as he can. Lane is almost legendary as one of The King's most attractive costars. Her body, even by today's standards, is unbelievable, so it's hard to imagine how jaw-dropping she must have seemed in '65. Her acting leaves quite a bit to be desired, but most male viewers will care very little! A Brit in real life, she provides a creditable American accent. Adams doesn't even try to mask her character's outright lust for Presley. She isn't given much to do at all beyond drooling over him, but she looks great doing it and does it with verve. Mullaney is annoying as would be expected from anyone being led through tired "3 Stooges" style schtick. (The films writers had worked with the comic trio previously.) Most of the rest of the cast are only shown is brief bits. At times it seems like the story – to use a term loosely – was cobbled together in order to take advantage of pre-existing sets left over from a prior movie and it's possible that that is what happened. Nonetheless, this was an inexplicable box office smash, placing the studio that backed it into the black and giving Presley (who was entitled to 50% of the profits) a hefty payday as well. At least it is colorful and attractive to the eye most of the time and undemanding (to say the least.) It's just a shame that someone as handsome and talented as Presley was unable or unwilling to be placed in projects that better displayed his charms while also paying tribute to them instead of bleeding them and his reputation dry.

Elvis Presley is a rodeo star/singer who accepts a job working for an older woman (Julie Adams of CREATURE FROM THE BLACK LAGOON) on her resort ranch -- which happens to be populated by hordes of gorgeous girls getting toned up as actresses and models. One of them (drop-dead gorgeous Jocelyn Lane) is the exercise coordinator who learns that her grandfather stashed a lot of loot in a neighboring ghost town, so this allows Presley to get some "haunted house" time in for the last act.I used to get a bigger kick out of this Elvis comedy when I saw it on TV a lot as a kid, but revisiting it recently in a loose chronological order along with Presely's many other movies made me have a slight second opinion; for especially when viewed all together, it's painfully obvious precisely at this point how the King of Rock 'n' Roll was being completely sold out. And yet, this movie made a lot of money all the same and saved Allied Artists studio! "Three Stooges" script writers Elwood Ullman and Edward Bernds penned this desperately silly and not very amusing offering, so as a result there is an extra dosage of zany slapstick, like Elvis getting knocked over the head several times and playing the Stooge. He is also saddled with a really annoying sidekick in the sniveling Jack Mullaney. This contrived film has a perfunctory and slap-dash feel to it, with Elvis coming across as half-heartedly going through the usual motions. BUT ... the saving graces of TICKLE ME are the many beautiful females on display (beginning with the luscious and big-eyed Jocelyn Lane) and also the decent music soundtrack - this film was so cheaply made that no budget was allowed for new songs to be recorded, so a group of older tunes from four or five years prior were utilized instead. That turned out to be a blessing in disguise, because among the better ones are "(It's a) Long Lonely Highway", "Dirty Dirty Feeling," "It Feels So Right", and "(Such an) Easy Question". **1/2 out of ****

More astonishing than the script for the final 2 reels in the haunted house part of TICKLE ME is the real life fright (to us 40 years later) is the phenomenal success of this Allied Artists film. In Sydney alone TICKLE ME opened at the massive, gorgeous treasure chest State Theatre and filled all 2500 seats for an unprecedented run of 8 weeks. Built in 1929 as a luxury outlet and famed for its Astaire Rogers runs in the 30s, and the Sinatra runs of the 50s, nothing but nothing topped Elvis there in 1965. Even when his films played other major luxury palaces in Sydney before and after TICKLE ME was the winner. As flabbergasted as I am to realize that success was repeated in city after city in every country it played, NOW I realize how well this film saved Allied Artists. This was their last production until 1969. They concentrated on releasing Euro dramas like A MAN AND A WOMAN and in the 70s were responsible for CABARET and PAPILLON. If the rentals in 1965 in the US alone were $3m then you can double that from the rest of the international ticket sales: $6m from a $1.4m investment. They weren't Monogram Pictures once for nothing, were they!