Rank: #12 |
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ELVIS
½
2022, PG-13, 159 mins. Austin Butler as Elvis Presley / Tom Hanks as Colonel Tom Parker / Olivia DeJonge as Priscilla Presley / Dacre Montgomery as Steve Binder / Kelvin Harrison Jr. as B.B. King / Richard Roxburgh as Vernon Presley / Helen Thomson as Gladys Presley / Yola as Sister Rosetta Tharpe / David Wenham as Hank Snow / Luke Bracey as Jerry Schilling / Alex Radu as George Klein / Alton Mason as Little Richard / Xavier Samuel as Scotty Moore / Kodi Smit-McPhee as Jimmie Rodgers Snow / Natasha Bassett as Dixie Locke / Leon Ford as Tom Diskin Directed by Baz Luhrmann / Written by Luhrmann, Sam Bromell, Craig Pearce, and Jeremy Doner |
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"It was the
greatest carnival attraction I've ever seen..." So says Colonel
Tom Parker (as played by Tom Hanks, unrecognizably caked under pounds of
makeup) upon coming across what would become his financial meal ticket in
the future King of Rock n' Roll in director Baz Luhrmann's ELVIS.
What could a film about one of the most significant cultural, historical, and musical figures of the 20th Century tell audiences at this point what so many other previous films, documentaries, and TV specials haven't already? Moreover, what could the MOULIN ROGUE helmer do to make this music biopic feel fresh and revitalized in an already (especially recently) heavily packed genre? Those are some of
the many questions that rang through my head going into ELVIS, and upon
coming out of my screening I was fairly sure that this is a pretty
conventionally scripted music biopic, but it has a compelling focal point
of interest (more on that in a bit) as well as Luhrmann's
go-for-absolute-broke stylistic bravado that mirrors and compliments the
same type of animalistic on-stage magnetism that Presley clearly had.
That, and ELVIS is a showcase real for star Austin Butler's
staggeringly immersive and thoroughly textured performance as the titular
figure. Luhrmann's maximalist
aesthetic tendencies might not be everyone's cup of tea, but it sure seems
like a perfect match for this subject matter: ELVIS is an audacious and
grandiose assault on the senses...and to paraphrase Parker's words, it's a
pretty darn epic attraction on most levels. Luhrmann has
multiple goals here: Obviously, ELVIS isn't a completionist's take on his
life and times (this isn't a birth to death biopic), but rather wisely
hones in on that precise moment in history when Parker fist locked eyes on
the mega superstar-to-be and had - to his credit - the eyes for a
once-in-a-generation talent (and the money that would come with it).
From that point, we gain insights into what would become an
extremely controversial and strained business and personal relationship
between the pair and how that was shaped - for better and worse - over the
course of multiple decades until the King's tragically young death at 42
in 1977. Luhrmann's
screenplay (co-written by Sam Bromell, Craig Pearce and Jeremy Doner)
isn't simply a greatest hits package of the musician, even though
their film gets a bit bogged down in genre troupes in the latter sections.
No, ELVIS is more of a mood and style piece first and foremost than
a conventional dramatization of its subject, and one that seems more
inclined to capture the seismic impact that this man had on the world.
Most crucial to this overall approach is that - as alluded to
earlier - Luhrmann makes a rather gutsy (and potentially polarizing)
choice to frame the entire narrative from the perspective of Parker
himself looking back on his time with his client, which gives ELVIS a
compelling flavor not seen in many music biopics, especially as far as
unreliable (and many would say unscrupulous) narrators go.
ELVIS opens in a
highly unpredictable fashion in 1997, as we're introduced to Hanks' Parker
just as he's about to die. On
his journey to the grave he speaks directly to the audience and finds
himself overcome with a whirlwind of memories of his time with Elvis
(Butler). The film then
whisks us all the way back to the 40s and 50s, and the former time period
is an intriguing one for showing Elvis as a poverty-stricken child that
finds salvation in (a) comic books (he loved SHAZAM
and desired to reach the Rock of Eternity, a metaphor for musical success);
(b) his passion for God; and (c) his equal love of Gospel and R&B
music, especially - later on - the African American artists that dominated
Memphis' Beale Street. At
this point we also get into Parker's background, which is - as emphasized
through the story - shady, to say the least, on multiple levels.
The most defining aspect of Parker pre-Elvis discovery is that he
was a circus carnival hustler that was always looking for the next
"big thing" and cash cow. He
thought he was P.T. Barnum incarnate, but here he comes off more as a
desperate used car salesman that would use any methods to make a buck.
When he does see Elvis on stage for the first time he's not so much
enamored with his music as he is the limitless possibilities of making
money off of the musical gifts that he possess.
Still, even Parker had to acknowledge what this unknown kid brought to the
table. "In that moment," he explains to the audience,
"I saw a skinny kid transform into a super hero." As history has
shown, Elvis' success was meteoric and prompt, and Parker - in pure
Svengali-like form - entrances the young singer in with the prospects of
unlimited earning potential from his name, image, and music.
And Parker knew that money would not just be generated from Elvis'
music, but from a cavalcade of endless merchandise and a hopeful movie
career as well (to be fair, Parker at least deserves some kudos for
thinking bigger with Elvis than perhaps even Elvis thought). And their early business partnership paid off handsomely,
allowing the once dirt-poor kid from Tupelo, Mississippi to attain wealth
and celebrity beyond what he thought was possible. To the wide-eye
twentysomething, it was a dream come true, but to Parker his client was a
means to an end to constantly find ways to give people the greatest
carnival act ever...and to do so every night on an indefinite basis (and
regardless of the negative effect it would have on the star's well
being). Elvis tried to remain grounded and humble during this time,
married Priscilla (Olivia DeJonge) and kept many family members and
friends by his side through thick and thin.
But cracks begin to form between him and Parker, which builds
towards deeply rooted financial tensions; Parker had a vise-like grip on
claming fifty per cent of Elvis' earnings during the entirety of his
career...and he always demanded
his cut. But the 70s their
partnership grew painfully strained, which - on top of burn-out and an
addiction to drugs - culminated with the King's death in 1977.
I
haven't even really scratched the surface of what ELVIS historically
covers, but I will say that having the film narrated by Parker himself and
providing an audio commentary, of sorts, about his client's career really
helps override the repetitive creative staleness that usually punctuates
this genre. Beyond the notion
of Hanks playing an ultra rare villainous role (seriously, look at his
resume...not many there), ELVIS manages to thankless avoid the pratfalls
of so many past movies and TV projects in terms of exploring this man's
life and times. It's a bold
and calculating move (and one that might alienate many an Elvis diehard),
but it serves the purpose of keeping viewers off-balance and alert.
This also rightfully frames his relationship with Elvis right from
the get-go: When Parker first met him he was plagued with stage fright and
- backstage, at least - was insecure with with his abilities to win over a
crowd. But just like the
super hero comics he gorged on as a kid, Elvis found the source of his
pelvis thrusting might and musical powers and unleashed them on an
unsuspecting world, and that's when Parker knew he had to have him.
He eventually become a vile puppet master in Elvis career, using
his skills as a slick conman to unleash Elvis everywhere while taking his
big, fat cut. By the time
Parker died he was a reclusive and sickly compulsive gambler that was torn
apart by history and the media for treating Elvis like a sideshow
attraction and pilfering way too much money from him over multiple
decades. Parker falsely
reassures audiences via his voiceover that he'll set the record straight,
although he doesn't do a thoroughly convincing job by the time the end
credits roll by. Hanks is
scarily mesmerizing here, and once you get past the obvious body and
facial appliances smeared all over him the actor really does disappear
into the role and becomes hypnotically convincing as a smooth talking
crook. The
first sections of ELVIS are among the film's finest, especially for the
way that Luhrmann and company tap into the obsessive frenzy that fans had
over him in the early stages of his career. The psychological effect
he had on women (and in one sly shot, some men) with his then unheard of
eroticized gyrating on stage was massive.
His heartthrob sexual tenacity cannot be understated here, and
during those formative years you can see the musician fine tuning it in
spite of moral leaders of the era condemning him.
My favourite sections of ELVIS are actually midway through and
explore his landmark 1968 "Comeback Special" for TV, which
Parker dreams of being a wholesome Christmas themed program for all ages
watching. Unfortunately for
him, Elvis became an increasingly politicized celebrity that was deeply
affected by the assassinations of Robert Kennedy and Rev Martin Luther
King. All Parker wants is his
holiday sweater adorned singer to please the crowd in the least
stigmatizing way possible, but when Elvis appears in studio all decked out
in black leather and transforms himself back to the "Elvis the
Pelvis" of old it angers his manager to no end ("He's not
wearing the sweater!!!"). From
that vantage point, Parker and Elvis' partnership would never be the same and go
into freefall mode in the next decade to come. And
with a circus ringmaster-like intensity, Luhrmann bathes ELVIS with an
unending propulsive energy that gives viewers a roller coaster styled ride
that evokes the dizzying highs and stomach churning lows of the star's
career, making a majority of the film so compulsively watchable as a grand
jukebox opera (at over two and a half hours, ELVIS never once feels its
length). If you're looking
for a quaint and restrained Elvis biopic, then this simply won't be for
you, but that's precisely why it spoke to me so much.
Elvis was clearly larger than life, and a big screen treatment of
that requires an equally bold level of showmanship and theatricality.
On those levels, Luhrmann seems like the perfect frontman to
unleash this version of Elvis to the silver screen, and he peppers his
film - even during the quieter moments - with a visually dazzling rhythm
and flurry that puts most other music biopics to shame.
It could be argued that the filmmaker's excesses overwhelm the film
and overshadow the subject matter (some watching will undoubtedly find it
exhausting to endure in parts), but I found that the impeccable and
bombastic craftsmanship contained within did a bravura job of relaying
Elvis' hip-swinging stage presence and larger impact on the medium.
Thankfully,
Luhrmann and his writers don't sidestep a crucial aspect of Elvis' career:
his lifelong appreciation of black musicians and his cozy relationship
with many of them. There has
been ample historical scrutiny of Elvis over the years for his
appropriation of black music (one of the things that attracted Parker to
him in the first place was that he was white, but singing black music,
which made him more marketable, in his mind).
His desire to fuse Gospel and Blues into his act is undeniable, but
it also caused him to be thrust into the crosshairs of Southern racists
who believed that his usage of black-themed music and his overt sexuality
on stage would serve as a demonizing influence on the youth of the times.
There's a telling moment in the film when B.B. King (Kelvin
Harrison Jr.) bluntly informs Elvis during one chance hangout session that
"too many people are making too much money" to just causally
throw him in jail. That's significant in terms of emphasizing that Elvis had a
far cozier rise to the top than many of his fellow black musician friends
had, and to the film's credit it doesn't overtly overlook that fact. And Elvis' self-professed love of black music made him a
large target for white Christian conservatives, like Hank Snow (David
Wenham), who doesn't take too kindly to Elvis' musical trappings and
effect on women in the audience (Luhrmann creates a superb juxtaposition
between Snow's stiff collared and safe stage presence with that of the
hyperdrive soaring Elvis to hammer home the point).
The most arresting scene in the entire film is a wild and
rambunctious concert in the heart of the Bible belt, during which time
southern authorities warn Elvis to play it safe.
He doesn't, and when he belts out the first lyrics of
"Trouble" he knows he's in for it.
Elvis may have used black music, but he put himself in harm's way
for it. When
you watch Butler in moments like this - and so many countless others -
you realize that he goes well beyond mere mimicry or a lazy
impersonation of Elvis here (which could easily have been the pratfall of
a lesser actor). Butler is
not a precise physical dead ringer for Elvis, but he more than makes up
for that in terms of fully encapsulating the singer's full blooded
tenacity and riveting level of charisma.
He's definitely a vocal maestro here as well (he did much of his
own singing combined with tracks of the real Elvis sliced in, and the end
results are always utterly convincing), but the key to his overall
performance prowess is in how he effortlessly captures both Elvis' boyish
shyness and his rapturously smoldering stage might
in equal dosages. Elvis
has been impersonated so many incalculable times by comedians, actors, and
Vegas performers for the past 45 years that you truly have to appreciate
the daunting challenge of a relatively unknown like Butler taking this
role's reigns and somehow making it his own.
It's one of the most lived-in, layered,
and authentic performances of a famous musician I've seen, and
Butler seems unquestionably Oscar nomination bound.
Luhrmann
does make a few mistakes here and there in ELVIS, like the fact that his
film career is a tad glossed over, not to mention that his growing
political awareness in the turbulent 60s is rushed a bit too much for my
tastes (granted, it does segue into that sensational recreation of the TV
Comeback Special). This, in
turn, builds to easily the least enthralling aspects of ELVIS in the form
of his troubling Las Vegas centered touring years in the 70s, which
essentially happened so that Parker could selfishly pay off his gambling
debts. It's during the final
third of the film that it gets swallowed up in obligatory music biopic
story machinations (we see the star freefall into drugs, alcohol,
backstage confrontations with Parker and Priscilla, and the musician's
physical and mental health drastically deteriorating).
This is part of public record about Elvis' life, yes, but it's
dramatically lacking in comparison to the build up towards it (and
speaking of Priscilla, the film conveniently overlooks the unsavory aspect
of Elvis meeting her for the first time in Germany when she was just 14).
I also could have done without Luhrmann littering the soundtrack
with modern musical stars covering Elvis's iconic songs (it's more
distracting than hip and cool). The
film concludes with archival footage Elvis (unhealthily bloated, sickly,
fairly immobile and just before his death) performing "Unchained
Melody" in concert with the breathtaking range of an opera tenor.
This is what the film needs, not lame remixes of his work by
others. |
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