Critical reception
Billboard wrote:
Elvis Presley's new film shapes up as a box-office winner. It's got plenty of action and characterisation and the star gives his best acting performance to date ... (the) Incidents and characters of the original novel are distorted, but the plot stands up well and the dialog is salty and emotion-packed. As Danny, Presley exhibits improved histrionics and provides many moving and tense moments. Carolyn Jones is a knockout as a fallen thrush who would like to love him; their aborted romance gives the pic its finest scenes.
Variety declared that the film "shows the young star [Presley] as a better than fair actor".
Howard Thompson of The New York Times also gave a favorable review:
Mr. Curtiz and his players have got it snugly draped around Mr. Presley's shoulders. And there it stays, until a limp melodramatic home stretch, even with eight or so of those twitching, gyrating musical interludes. ... These also perfectly typify the Bourbon Street honky-tonks that Mr. Curtiz and his fine photographer, Russ Harlan, have beguilingly drenched with atmosphere. Matching, or balancing, the tunes are at least seven characterizations that supply the real backbone and tell the story of the picture. ... for Mr. Presley, in his third screen attempt, it's a pleasure to find him up to a little more than Bourbon Street shoutin' and wigglin'. Acting is his assignment in this shrewdly upholstered showcase, and he does it, so help us over a picket fence.
The Spectator, however, criticized the relationship of Presley's character with his love interests:
The girls in his (Michael Curtiz's) latest film, King Creole, are both played by good, serious actresses: Carolyn Jones and Dolores Hart... Both are shown to be hungrily, desperately, unpridefully in love with him (Presley's character). They have no existence, except in him; do nothing but wait for him; hope for nothing but a little rough affection... Instead of being kissed, they beg for kisses, which Mr. Presley sulkily and reluctantly hands out now and then, with the air of a small, fastidious boy being pressed to eat marshmallow and, though he feels a bit sick, not quite knowing how to get out of it... As the most extreme example of a contemporary idol, Mr. Presley is pretty fascinating, and, though you may be put off at first by his pale, puffy, bruised looking babyish face, by the weary cherubic decadence you might imagine in Nero, and the excessive greasiness of his excessively long, spiky locks, his films, however bad (and King Creole is pretty low on his list), are well worth taking a look at.
About Presley's performance, DownBeat wrote, "Let it be noted that Elvis Presley's latest, King Creole, is his best picture thus far--comparatively speaking, of course. Maybe about 10 more films (and as many drama coaches) from now Elvis might begin to get an inkling of what acting's all about."
TV-Radio Mirror praised Presley's acting over his past roles: "Elvis Presley does his strongest acting job so far. Two years ago, Presley on the screen was a laughing stock. But nobody is laughing now."
Meanwhile, The Monthly Film Bulletin criticized the violence depicted in the film and rated the movie a III, denoting poor, stating, "This entangled series of cliches, each with more unlikely motivation than the last, provides the most unattractive Presley vehicle so far. His numbers only offer intermittent relief from the calculated violence and viciousness, and he can do little to balance the disagreeable movie."
Commonweal lamented the lack of punishment to the main character for his actions, but praised the director for his influence on Presley:
No doubt adults won't be moved much by "King Creole" one way or the other, but unfortunately teenage audiences may be taken in, especially since Danny is supposed to be a sympathetic character and at the end goes unpunished by the police for his crimes ... It must be said in favor of Director Michael Curtiz that he does succeed in getting Presley to act every now and then, but the cards are stacked in such an obvious manner against Danny that even Montgomery Clift couldn't have handled the role with conviction.
Catholic World commented:
Playing a part— an underprivileged youth who, on and off, displays some dignity and honest aspirations — that requires some histrionic effort, Presley shows signs that he is getting the hang of acting. The picture itself, however, after a promising enough beginning turns into a lurid melodramatic hash composed in about equal part of juvenile delinquency, gangsterism and sex. These may be legitimate dramatic subjects but the script gives them an illegitimate viewpoint and leaves muddled moral issues dangling.
The Florence Times wrote of Presley:
The fellow isn't a bad actor. Of course, he's nothing at all sensational and the Academy Award isn't in danger, but there are Hollywood habitues who've gotten by for years with less ability. In fact, given the normal amount of the more painstaking type of direction, it is entirely possible that Mr. Wiggle-hips could develop into a really competent actor. As long, however, as he can continue to attract audiences in present proportions there's little need in worrying with drama schools.
Allrovi rated the movie with four stars out of five, stating, "The film's highlight is a brief exchange of fisticuffs between Elvis and Walter Matthau. Together with Jailhouse Rock, King Creole is one of the best filmed examples of the untamed, pre-army Elvis Presley."
Filmink called it "one of Elvis’ best-ever efforts)... Elvis is at his most early period Tony Curtis here – all snarls, swivelling hips and chip on the shoulder."
On the review aggregator website Rotten Tomatoes, 96% of 24 critics' reviews are positive, with an average rating of 7.1/10.
