The film was an expansion of the January 1957 Kraft Television Theatre episode "The Singin' Idol," also starring Sands, who was billed by the studio as a new teen idol and plays an Elvis Presley-type singer.
The film was Gentle's only starring role, and her penultimate film appearance. 20th Century-Fox had plans to promote her as its new dashing redhead, but suitable roles for her did not materialize.[citation needed]
Sing, Boy, Sing was released in the United States in February 1958 to positive reviews, but performed poorly at the box office, though it did find some popularity with teenage audiences.[citation needed]
In the television program, which also stars Tommy Sands, but with the lead character's first name as Elwell rather than Virgil (as in the film), Walker is a singing star under the control of his manager. He visits his hometown where he reconnects with a childhood sweetheart. His ill father, a reverend, dies after pleading for Elwell to become a preacher, and Elwell is tempted to return home and follow in his father's footsteps, but his manager dissuades him.
The television program's script was written by Paul Monash and was based on the life of Elvis Presley. Sands had been discovered by Presley's manager Colonel Tom Parker, and Sands had toured with Presley.[6] Parker helped Sands land lead role, which turned Sands into a star overnight.[7] He received eight times more fan mail than any had other actor who had appeared on a Kraft Television Theatre episode.[8] Sands later said: "Colonel Parker was the best thing that ever happened to me."[9]
Songs performed on the show included "Hep Dee Hootie", "Rock of Ages" and "Teen-Age Crush," which reached #2 on the Billboard singles chart and sold over a million copies.[10]
Production
20th Century-Fox had enjoyed success with films starring Elvis Presley and Pat Boone. In February 1957, the studio bought the film rights,[11] and in July Sands signed on to appear in the film. Henry Ephron was assigned to produce.[12]
Ephron said that Claude Binyon had written "a first-rate script" that "could be made at a price." He approached Orson Welles about the part of the manager. Welles was enthusiastic and also wanted to direct the film. He explained his ideas to Ephron, who thought that they were "electric," and pitched the idea of Welles directing to the executives at Fox. Spyros Skouras said that Ephron could have Welles if he personally guaranteed any cost overruns that Welles might incur.[13] However, Ephron directed the film himself.
Sands cowrote some of the film's musical numbers.[16]
Reception
20th Century-Fox head Buddy Adler was reportedly so excited by a preview of the film that he signed a new contract with Sands, tripling his salary.[17]
The film opened at the Metropolitan Theatre in Houston, Texas on February 5, 1958 but was pulled two days later because of poor attendance.[1]
The Los Angeles Times wrote that the film was "several cuts above average" and that the "real surprise package" was Sands: "[H]e's going to be a very competent actor; he already has verve, presence."[18]
^Solomon, Aubrey. Twentieth Century Fox: A Corporate and Financial History (The Scarecrow Filmmakers Series). Lanham, Maryland: Scarecrow Press, 1989. ISBN978-0-8108-4244-1. p251
