Emergence of Rock and Roll Films

Rather, it was presented in terms of the fender medicineal. Bill Haley and the Comets were seen in reel Around the Clock essentially as themselves, and several films of the era tried to present the memorial of the medicine and to show the difficulties faced by those who had create it and presently wanted to market it. Ehrenstein and Reed (1982) cite Shake, Rattle and Rock (1956) as a film that epitomizes this approach, showing in this outcome a TV stage benefit using gemstone music to attract the kids and their money to a good shell. From the first, the music was associated with youth and with the natural desire of the vernal to have something that was their own, something un wish from what was admired by their elders. The question asked in these movies was the question cosmos asked in society - was this music good or bounteous for the young people listening to it? Ehrenstein and Reed state: "The trite answer provided by the films was yes AND no. 'Yes,' the new music credibly was damaging to the morals of youth, but it was in resembling manner concluded that cause for alarm existed only if these leaders of tomorrow allowed their rock and axial rotation impulses to remain unchanneled toward loftier, nobler goals" (p. 32). In other words, they would get over it.

Parents pile be excused for thinking the answer was different in a parallel set of juvenile-oriented films where the outlaw was being developed as a rock icon. These are called by Ehrenstein and

Reed "Youth-Runs-Wild melodrama" and these films "embodied all the horrors that adults entangle rock music would unleash upon the young" (p. 41). In these films, juvenile gangs ran wild. They were usually brought to their comeuppance by the end of the film, but in the meantime they evoked images of smoking, drinking, sexual activity, and wild rock music. Films like Hot Rod Gang (1958) or High give lessons Confidential (1958) a great deal made high school await like a mini-Peyton Place (before Peyton Place was even invented), with drugs added. The teenagers in these films were precursors of the anti-hero outlaws of later films. The teenage ratpacks were usually not the heros, but the heros were often skirting the edge of legality of not morality.

Hot-rodders tended to ride wildly through the streets, flouting laws against racing because they wanted to be free and conceitl the laws were oppressive. After they ran over a kid sister or two, they usually changed their minds and formed a hot-rod club with a track outside of town. This pattern was repeated endlessly, with different types of vehicle or different types of legal challenge. These films also repeated the idea that these young people needed their own music to notice them from their parents, and the music happened to have a driving and orgiastic find that made it more dangerous, which was in fact the reason young people liked it in the first place.

Rock music in general, though, has become a part of nearly any movie. This does not mean it is used as score, but it does step forward regularly as background music in each sort of film. Much of the music itself still embodies a feel of the outlaw, and this fact is often used by filmmakers for evoking attitudes and ideas toward their material. The music is also often used for its nostalgic value, though even therefore it can be associated with maudlin outlaws or with a sentimental view of outlaws. In the gangster film GoodFellas, music like "Leader of the Pack" is use
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