Film
Double Trouble
A 1967 Elvis vehicle that treats the King as a romantic comedy lead caught between two women, jewel thieves, and a killer across continental Europe. It's a breezy, lightweight affair—part caper, part love triangle, entirely dependent on whether you find Elvis's effortless charm enough to carry ninety minutes of plot mechanics. For fans of sixties escapism and Elvis in motion.
If you liked this
Viva Las Vegas1964
The platonic ideal of an Elvis musical: a beautiful leading lady, Las Vegas glamour, and energetic musical numbers that justify the whole enterprise. Ann-Margret matches his star power and the film knows exactly what it is.
But The plot is tissue-thin, and if you're not already charmed by Elvis's particular brand of sixties cool, nothing here will convert you.

Roustabout1964
Elvis as a carnival drifter in a robust supporting cast that includes Barbara Stanwyck and gives him actual character work to do. The circus setting and the darker undercurrent make it more interesting than most of his vehicles.
But The tone wavers between drama and musical, and it doesn't entirely commit to either. Some plot threads feel abandoned.

Funny Face1957
Audrey Hepburn and Fred Astaire in a romantic comedy caper across Paris with genuine wit, style, and musical numbers that elevate rather than interrupt the story. The gold standard for this era of romantic musical nonsense.
But The fashion-world satire dates badly in places, and the gender politics are very much 1957. It's charming, not profound.

Not sure tonight? Get a pick in a minute, starting from Double Trouble
The wildcard
Something you would not have found on your own.
Madame Sans-Gêne1941
Annette Day the actor, not the formula—seeing her in a work of actual filmmaking rather than a star vehicle shows what the machinery was built around.
A French musical comedy about mistaken identity and romance in Napoleonic times, with Annette Day (who plays opposite Elvis here) in an entirely different context and sensibility. It reveals what European cinema was doing while Hollywood made the same story five different ways.
But It's in French with subtitles, moves at a pace that prefers character and charm to plot momentum, and assumes you're comfortable with mid-century French comedy conventions.

More like this (8)
Ocean's Eleven1960
A heist romp with genuine star wattage, style for days, and the easy confidence of people having fun making a movie. The caper plot snaps along and the ensemble chemistry is real.
But There's very little at stake dramatically; it's all surface charm. If you need emotional weight with your heists, this will feel hollow.

The Pink Panther1963
Peter Sellers as a bumbling inspector trying to recover a stolen diamond, with Audrey Hepburn and David Niven in a beautifully constructed comedy of errors. Funny, elegant, and inventive.
But Sellers' accent and physical comedy feel mannered to modern ears, and the film can tip toward slapstick when the writing falters.

Charade1963
Audrey Hepburn and Cary Grant in a Paris-set romantic thriller that's genuinely clever—it pivots beautifully between murder mystery, romance, and comedy without losing momentum.
But The ending resolves with a twist that requires you to have paid close attention; some find it unsatisfying rather than satisfying.

It Happened to Jane1959
Doris Day as a railroad executive taking on a corporation, with Jack Lemmon as the male lead. It's a genuinely funny battle-of-the-sexes comedy with real warmth and snappy dialogue.
But The earnestness about small-town America feels quaint now, and the plot is conventional even for its time.

The Spy Who Came In from the Cold1965
Richard Burton as a weary Cold War spy in a gritty, intelligent adaptation of Le Carré's novel. It's the serious version of the spy caper—tense, morally murky, beautifully made.
But It's bleak and slow-moving. If you want spy thrills and glamour, this will feel like homework.

Arabesque1966
Gregory Peck and Sophia Loren in a globe-trotting spy caper with mod design, playful violence, and genuine chemistry. It doesn't take itself seriously but it's made with real craft.
But The plot is deliberately nonsensical and some viewers will resent being asked to care about characters in a story that clearly doesn't care either.

Rififi1955
Both are thief-and-jewelry stories, but this one asks what theft costs, while Elvis's film asks what love costs—opposite ends of the same basic setup.
A French heist film that creates genuine tension from a jewelry robbery, with a famous twenty-minute scene of the heist itself in complete silence. It's the blueprint for every caper film that followed, executed with style and moral ambiguity.
But It's in French, it's noir-ish and fatalistic rather than comedic, and the moral universe is much darker than anything in Double Trouble.

A Shot in the Dark1964
Both have bumbling detectives as comic relief in a murder-mystery romance. This one proves the bumbler can carry the entire film if you give him a writer smart enough to know how.
Peter Sellers as Inspector Clouseau in a murder mystery comedy that's genuinely clever about plot mechanics while remaining absolutely hilarious. The bumbling detective subgenre done at its peak.
But If you don't click with Sellers' approach to comedy—the accident-prone physical humor—the whole thing collapses. It's very much his movie.

People
Cast
Elvis PresleyGuy Lambert
Annette DayJill Conway
John WilliamsGerald Waverly
Yvonne RomainClaire Dunham
Harry WiereBumbling Detective (as The Wiere Brothers)
Herbert WiereBumbling Detective (as The Wiere Brothers)
Sylvester WiereBumbling Detective (as The Wiere Brothers)
Chips RaffertyArchie Brown
Norman RossingtonArthur Babcock
Monte LandisGeorgie
Michael MurphyMorley
Leon AskinInspector de Groote
Directing
- Claude Binyon Jr.Assistant Director
- Norman TaurogDirector
Writing
- Jo HeimsScreenplay
- Marc BrandelStory
Production
- Irwin WinklerProducer
- Judd BernardProducer
- Al ShenbergUnit Production Manager