I studied Creative Writing at Belfast Met and this exercise is based on the thinking of Christopher Vogler – that there is only one template for all stories either on screen or written.

In the opening scenes of Jailhouse Rock our hero Vince Everett is introduced as a brash, rebellious young man intent on proving his valour and bravery, especially to members of the opposite sex. His swaggering bravado proves his undoing as he is thrust by circumstance into an unwelcome adventure. Racing to the aid of a damsel in distress, his flailing fists as weighty weapons, harbouring no intention to maim or kill, Vince mistakenly underestimates his strength and his opponent dies. These circumstances parody Presley’s own colourful existence as he has to constantly and continuously defend himself and his music against harsh, unjustifiable criticism.

He is thrust into his first Ordeal as he stands before his mortal enemy in the confines of a scarred courtroom battlefield surrounded by friends and enemies alike. The mortal enemy, the seated Judge, is actually a darkly cloaked Mentor and his harsh prison term for the young Everett will prove fateful and life changing for our stubborn Hero. The Call to Adventure is heavily disguised as a substantial jail sentence given to our Hero on the charge of manslaughter. He proves reluctant to accept the Call, not realising the winning hand that Fate has dealt him. Although Vince is intolerant of his sentence, he is forced to accept the Hero’s punishment and enters a strange realm filled with danger and intrigue.

Well able to handle himself in the Ordinary World , our Hero is ill equipped to deal with the harsh realities of this alien environment and finds himself in the unenviable position of victim, abused and parodied by prison inmates. His bravado takes a nosedive, his confidence flounders and his power diminishes.

Enter the second of our Hero’s Mentors in the guise of Hunk Houghton (Mickey Shaughnessey,) Vince’s cellmate, a veteran of the incarcerated realm who senses some greatness in our Hero – a unique singing voice. He befriends Vince, teaches him guitar, develops his vocal range and encourages him to take part in the prison concert, the Threshold which results in an avalanche of fan mail from the inhabitants of the Ordinary World and an acceptance by the hardened prison inmates. Mentor becomes enemy as Hunk bribes prisoners in the post room to conceal the letters, hindering Vinces’s knowledge of his popularity. Recognising an opportunity for advancement and perhaps riches, our shrewd, self effacing Mentor lures our simple minded, innocent Hero into a honeyed trap, promising him fame, fortune and riches beyond his wildest dreams in return for sole ownership of his talent and fifty per cent of his takings. Our trusting Hero falls hard and is tied to Shaughnessey by not only loyalty but a hastily drawn up legal? document signed by both parties. Having served his sentence, in deference to his Captors, with good behaviour, he is released before Shaughnessey, back into the Ordinary World where he will meet and become romantically involved with his Second Mentor, a music scout Judy Tyler.

On leaving prison, however, Vince’s mail is returned to him and he is shocked and saddened by the deviousness of his best friend. He realises his potential and refuses to be sidetracked by petty bureaucracy so pursues his goal of fame and fortune with the skilful assistance of his pretty Mentor Judy.

They bravely enter the in-most cave together to face the Ordeal of record producers, DJ’S, sponsors, with no other weapons but their total belief in Vince’s raw talent. They are on a quest and are relentless in their pursuit of success. After becoming victims of a publishing firms’ song theft, they pool resources and using their initiative, establish their own record company. Using whatever weapons are at their disposal, in Vince’s case his fists and acid tongue cause more strife than the seductive flirting of Judy, who manages to coerce an avid admirer of hers into playing Vince’s record on his radio show.

The ultimate reward for their perseverance materialises in the form of a recording contract and swiftly escalating fame and fortune. Our Hero claims his reward and his damsel and events are on form for a happily ever after conclusion. Unfortunately unscrupulous business men take advantage of Vince’s insecurity, and with twisted promises inflate his fragile ego, twisting him into the very Ordeal he has to face. He becomes dour and sullen, stubbornly refusing to listen to his Mentor Judy ‘s advice, casting her aside and breaking her heart , adhering himself to The Enemy whose poisonous tentacles encircle Our Hero turning him into an obnoxious, self centred Rock Star. Vince then becomes the Ordeal, becomes the Dark Threshold waiting to be crossed, The Task he has been set to claim the Elixir.

During this dark era, Hunk Houghton – his initial Mentor, is released from prison and comes in search of his reward, promised by the now changed Vince. He finds his once malleable buddy completely transformed into a single-minded, egotistical horror and Hunk is made to cower at The Master’s feet, metaphorically lick his boots and attend to his every whim. Everyone has a breaking point and Vince’s dismissive treatment of Judy is Hunks’. He attacks Vince, a fierce battle ensues and Our Turncoat Hero is seriously wounded, his throat badly bruised preventing any singing, and therefore constitutes the loss of his elevated status.

During his convalescence Vince is resurrected, realising the true worth of his close friends and deeply regretting his abominable behaviour. He is returned to The Real World holding aloft The Chalice of Elixir, containing his enlightenment and conversion to the meaning of steadfast friends and deep, abiding love.

 

Jailhouse Rock was the third Elvis movie, made for MGM , directed by Richard Thorpe and starring the new sensation Elvis Presley. It was filmed in black and white, whether intentionally or not, it worked extremely well. Atmospheric and lively, the dance sequence becoming a timeless classic, it captured Presley at his best with his smouldering good looks and charismatic personality. It provoked mixed reviews at the box office:

Author Thomas Doherty wrote in his 2002 book, Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s: “In Jailhouse Rock, the treatment of rock ‘n’ roll music, both as narrative content and as cinematic performance is knowing and respectful […] The elaborate choreography for the title tune, the long takes and uninterrupted screen time given to the other numbers, and the musical pacing–the rock ‘n’ roll builds in quality and intensity–all show an indigenous appreciation of Presley’s rock ‘n’ Roll.”

All shook up and enjoyably bad, JAILHOUSE ROCK captures early Elvis in all his leg-quivering, nostril-flaring, lip-snarling teen idol glory.

REFERENCES: www.wikpedia.org

THE WRITERS JOURNEY by Christopher Vogler^[18]