Het is 1958. Iedereen gaat 's avonds naar de drive-in. Amerika lanceert zijn eerste satelliet. Het boek Lolita doet veel stof opwaaien. En Elvis geeft Bourbon Street een nieuw ritme in King Creole. Hij speelt een opstandige tiener wiens zingen de Franse wijk aan het swingen krijgt.
Nee, helaas is King Creole nog niet beschikbaar op Netflix in Nederland.
| Directing | Michael Curtiz | Director |
| Writing | Harold Robbins | Novel |
| Camera | Russell Harlan | Director of Photography |
| Writing | Michael V. Gazzo | Screenplay |
| Writing | Herbert Baker | Screenplay |
| Editing | Warren Low | Editor |
| Crew | Tom Parker | Technical Advisor |
| Costume & Make-Up | Jack Stone | Makeup Artist |
| Sound | Harold Lewis | Sound |
| Production | Hal B. Wallis | Producer |
| Art | Frank R. McKelvy | Set Decoration |
| Sound | Charles Grenzbach | Sound |
| Sound | Walter Scharf | Original Music Composer |
| Sound | R.D. Cook | Sound |
| Art | Sam Comer | Set Decoration |
| Costume & Make-Up | Nellie Manley | Hairstylist |
| Production | Richard Blaydon | Unit Production Manager |
| Costume & Make-Up | Hedy Mjorud | Hairstylist |
| Production | Joseph H. Hazen | Producer |
| Production | Bert McKay | Casting |
| Art | J. McMillan Johnson | Art Direction |
| Costume & Make-Up | Frank Westmore | Makeup Artist |
| Directing | Michael D. Moore | Assistant Director |
| Production | Paul Nathan | Associate Producer |
| Costume & Make-Up | Wally Westmore | Makeup Artist |
| Production | Frank Caffey | Production Manager |
| Art | Hal Pereira | Art Direction |
| Art | Robert McCrellis | Props |
| Directing | Ralph Axness | Second Assistant Director |
| Lighting | Bill Neff | Gaffer |
| Costume & Make-Up | Edith Head | Costumer |
| Editing | Matt McFarland | Colorist |
| Crew | Norman Stuart | Dialogue Coach |
