I spent last night watching two Elvis Presley's films, Blue Hawaii and Girls, Girls, Girls. I love Blue Hawaii. You hear all the King's classics and the film has no pretension of having any narrative: great postcard cinematography, 1960s Playboy pinup aesthetics, horrifying editing, marvellous songs and youth energy! Girls, Girls, Girls, in a way, is similar, but it brilliantly camps up the Oedipal structure of a classical Hollywood film. Elvis is a son of a boat-maker. According to the back story, he and his father finished the most perfect boat for a ship owner and the father died on the day of its completion. In the film, Elvis's dream is to save enough money to buy the boat (which now functions as the corpse of the Father). He gets a job driving it. Because of his obsession about repossessing the dead body of the Father, Elvis has a difficult time entering any romantic relationship. The only time he can relax himself is to be in a place called Paradise Cove, where he has a surrogate family from China (the “Orient” thus functions as a mother substitute par excellence). The boat is then bought up by a sex maniac and an alcoholic, who becomes Elvis's boss (the anal father). Elvis meets a girl who turns out to be very rich (he doesn't know that she is rich at first). She buys the boat “for him.” Upon knowing it, of course, Evlis is infuriated, and he seeks refuge in the Orient (Paradise Cove). The girl tries to run after him, but the only one who can drive the boat is the the anal father. Of course, the anal father tries to rape the girl on the sea (but how can he as an anal father?). Elvis comes to save the girl. Eventually, Elvis, the girl, and the Chinese father are all saved on a little motor boat, and the girl orders the now re-castrated anal father to drive the dead Father (the boat) back to the harbour, while she and Elvis would spend an evening in Paradise Cove. At this point, they ritualistically circle the dead Father's boat and hit it hard, thus triumphantly killing the already dead Father and entering normative heterosexual relationship. Finally, on Paradise Cove, Elvis sings a final number with beauties from around the world dancing his famous twist, luring him with their almost unclothed (with the exception of American women, who were dressed like well-behaved college girls) bodies. Elvis looks at his now mother substitute, and the mother substitute nods with approval when he twists his pelvis violently, thus showing off his now fully potent phallus. We can perhaps ask two Žižekian questions here: Why should the Father be killed twice, and why should the anal father join the dead Father (by driving Him back to the harbour and be abandoned from Paradise)? What does it say about an international audience, probably below the age of 30 and primarily female, being satisfied by this onscreen ritualisation and camping up of the most classical narrative mechanism of Hollywood cinema?