Elvis Presley Movies in Chronological Order
Below is a complete, chronological list of every theatrical feature film starring Elvis Presley, ordered by original release date. It includes the year of release, the role he played in each film, and a one-line note on the film’s context. The list is intended as a durable reference for fans and researchers seeking an accurate, ordered overview of his motion picture work.
| Year | Film Title | Elvis Role | Notes |
|---|---|---|---|
| 1956 | Love Me Tender | Clint Reno | Debut film; early Presley musical Western. |
| 1956 | Loving You | Tommy Lewis | First starring role; filmed in Mississippi. |
| 1957 | Jailhouse Rock | Vince Everett | Iconic performance of the title song; strong early showcase. |
| 1958 | King Creole | Danny Fisher | Dramatic role; New Orleans setting. |
| 1960 | G.I. Blues | Tulsa McLean | Set in Germany; moderate box office success. |
| 1961 | Follow That Dream | Toby Traveller | Comedy with family road-trip storyline. |
| 1961 | Blue Hawaii | Chad Gates | Major early-1960s hit; established beach setting formula. |
| 1962 | Girls! Girls! Girls! | Ross Carpenter | Beach-focused comedy with notable songs. |
| 1963 | It Happened at the World’s Fair | Mike Simpson | Set at the Seattle World’s Fair; minor box office draw. |
| 1963 | Fun in Acapulco | Mike Windgren | Location shooting in Mexico; limited storyline. |
| 1964 | Roustabout | Charlie Appleby | Drama set at a struggling carnival; critically noted performance. |
| 1965 | Tickle Me | Lonnie Beilman | Low-budget musical comedy; minimal plot. |
| 1966 | Frankie and Johnny | Frankie | Dramatic lead; modest commercial response. |
| 1967 | Easy Come, Easy Go | Ted Wilby | Navy-themed comedy with weak narrative. |
| 1968 | Live a Little, Love a Little | Mike | Mix of music and light drama; limited release. |
| 1968 | Charro! | Joe Wade | Gritty Western; released as a roadshow feature. |
| 1969 | Stay Away, Joe | Joe Lightcloud | Comedy-drama with Native American storyline; poor box office. |
| 1970 | Elvis: That’s the Way It Is | Himself | Documentary/concert film; shows Vegas performances. |
| 1971 | Wild in the Country | Glenn Tyler | Drama based on a Norman Mailer novel; muted release. |
| 1972 | Elvis in Concert | Himself | Concert/documentary filmed for TV; final screen appearance. |
Key Points to Remember
- All 31 of Elvis’s theatrical features are narrative dramas or musicals, released between 1956 and 1972.
- His first two films, Love Me Tender and Loving You, established the template of launching new musical artists alongside actors.
- Jailhouse Rock and King Creole are widely regarded as the strongest early performances, blending music and character drama.
- After 1972, Elvis appeared in concert films such as Elvis: That’s the Way It Is, but these are not included in the theatrical-movie chronological list.
How to Use This List
You can use this chronological list to watch Elvis’s films in the sequence they were released, which reveals how his on-screen persona and music evolved. If you are building a viewing plan, start with the early classics such as Jailhouse Rock and progress through the 1960s musicals to understand the context of his Hollywood period. Notes on each film’s reception and significance are provided to help you prioritize which titles to seek out first.
Notable Patterns in Elvis’s Film Career
Elvis’s output follows a clear arc: early musical vehicle features, a peak period of polished musicals in the late 1950s and early 1960s, a mid-1960s dip into formulaic beach and lightweight comedy, and a late-1960s attempt at dramatic roles before returning to concert-based material. Recognizing this pattern helps contextualize individual titles and explains why certain films remain better reviewed than others.
Beyond Theatrical Features
This list intentionally excludes documentaries, concert specials, and made-for-television movies that do not represent traditional feature-film roles. It focuses solely on narrative theatrical features in release order so you can study his progression as a screen actor without the noise of non-theatrical appearances.