In theaters, rock’s most glorious comeback is revived 50 years later At career low point, Elvis, producers practically invented modern concert film

It was 1968, and the King was all but dead. The Summer of Love came and went, leaving the man once seated on the throne of rock ‘n’ roll nothing but a drug-addled relic of a time past. Instead of dancing and necking and maybe even performing for the hippies in Haight-Ashbury, Elvis Presley had spent an endless seven years in Southern California, forsaking his music career for one on the silver screen. Hollywood, though, had not been kind to Presley. During this stretch, Elvis pumped out movie after movie at an astonishing rate of three to four per year. But fans didn’t want a leading man. They wanted that smooth baritone, those gyrating hips, the coifed hair. Unlike LL Cool J, Elvis needed a musical comeback. He got that in 1968 in the form of a 60-minute tele- vision special that revived his career and changed concert films forever. That special, now 50 years old, will return to some 500 U.S. movie theaters for a special engagement Thursday and Monday, a celebration of one of rock’s monumental moments – one that almost didn’t happened. The rocker’s fortunes had begun changing in 1957 when he was drafted into the U.S. Army. The period would prove to be a dark one, during which the life of his mother ended and his drug addiction began. His introduction to the Army served as an almost metaphorical neutering of the star. His iconic ducktail hairdo was shaved off and his tight leather pants were replaced with a uniform. He was at the zenith of his career when his service in Frankfurt, Germany, began on March 24, 1958, a day the media dubbed “Black Monday.” He spent his tour in Europe flying fast and high, thanks to a nasty amphetamine habit. His time across the pond was rock ‘n’ roll cliche: He got into fistfights with Germans, caroused around topless clubs and brought dancers back to his hotel, all while fueled by those little pills. “If I didn’t have them, I’d never make it through the day myself. But it’s OK, they’re safe,” Elvis reportedly told then 14-year-old Priscilla Beaulieu, whom he met during his tour and began dating. Elvis was changing. So was the American pop music landscape, as its stars slowly disappeared from the public consciousness. Buddy Holly and Ritchie Valens died in a plane crash. Chuck Berry was jailed for transporting a 14-year-old girl across state lines for sexual purposes. Jerry Lee Lewis was shunned for marrying his 13-year-old cousin. Meanwhile, the Beatles, the Rolling Stones and the Beach Boys appeared, signaling an evolution of the rock ‘n’ roll upon which Elvis built his throne. When the King returned to the states, he took his talents to Hollywood, quickly pumping out 33 completely forgettable but incredibly bankable movies. Adjusting for inflation, they made about $2.2 billion domestically. But they were not good. His image as a rock ‘n’ roller required rehabilitation, and his hardcharging manager “Colonel Tom” Parker thought he had the perfect idea: a televised Christmas special. (This was not a perfect idea.)

Luckily for Elvis, Steve Binder existed. He produced and directed the NBC project titled “Singer Presents ... ELVIS” that is now colloquially known as the ‘68 Comeback Special. It’s to Binder’s credit that they made a modern concert film instead of the proposed Christmas show. Binder was not a likely choice for the project. First, he wasn’t a big fan of the singer. “I was a West Coast kid who was into surf music,” Binder told The Washington Post. “I was amused by Elvis, but I didn’t think we had a lot in common. I thought maybe he’s even a redneck.” And secondly, Binder only got into television to enhance his dating life. A friend told him, “If you want to meet some pretty girls, try to get a job at a studio” – so he got a job in the ABC mail room and suddenly realized he had a knack for the medium. Binder, not expecting much, met with Elvis. “We didn’t talk about television at all,” Binder said. “He just told me he was uncomfortable doing television, and it wasn’t his turf. He said he only felt comfortable making records.” Binder liked him and had an idea. He told Elvis, “If we do work together, why don’t you make an album and I’ll put pictures to it.” There were a couple of obstacles. No one had ever really made a concert movie. And Parker wanted a Christmas special, and Parker generally got what Parker wanted. Elvis “felt like it was a make- or break-him moment,” Priscilla Presley told The Post. He and Binder knew a Christmas special would fail. So “they bypassed Col. Parker and they did what they wanted to do.” Elvis moved into the TV studio to avoid a daily drive, and after rehearsals, he would hang around and jam with other musicians, including guitarist Mike Deasy. “Elvis was comfortable with us musicians. He would come and hang out and even bring his guitar,” Deasy said. “It was just good times. It was some of the best times.” Binder was watching a session when it hit him: “These guys jamming was better than all the money we’re spending on sets and costumes. I have to get this on tape.” Instead of some ornate production, Binder told Elvis to put on a show, adding that he shouldn’t “worry about doing television or where the cameras are. Just enjoy yourself, and I’ll find the cameras to be on you whenever you perform.”