Baz Luhrmann’s Elvis delivers a sort of feral energy that’s absent in most movies – and even Luhrmann projects – these days. This is in spite of the fact that Luhrmann is known for portraying tons of glitter and ostentation in the productions he helms. Elvis is a huge spectacle that’s been painted with thick strokes as well as brilliant colors, and carries the depth you’d expect from a soap opera, while still conveying the zeal that a symphonic masterpiece should have.
To those expecting to see a historically accurate piece: you’re bound to be disappointed. This is a movie that needed to be big enough to be able to carry a larger-than-life subject, because we’re not talking about John Denver or someone of a like pedigree, but the King of rock-and-roll himself. You simply cannot go the subtle route if you’re planning on documenting the rise of the greasy-haired kid who came from the South and brought along Black music in his wake, and then proceeded to disintegrate into pills and whatnot in Vegas.
Luhrmann makes it clear early on that he’s obsessed with The King, and thankfully doesn’t try to make it seem like we’re watching anything even close to reality. Surrealism is the name of the game in this movie, in everything from the backroad churches to the sweaty nightclubs. Every frame manages to scream the sentiment.
The narration is performed by Colonel Tom Parker, Elvis’ insatiable manager, who is played by Tom Hanks. The only real talent he seems to have as a character is making money off Elvis’ acts. Parker is packed deep under latex and a fat suit and carries a Dutch accent when he speaks, which is a lot of the time. The performance is just as bizarre and talkative as the movie itself. Parker is almost always seen trembling, gesturing, and bright-eyed, forever lusting after the American dollar. Despite all this, however, Hanks does manage to convey the feel of a sad soul, with genuine moments of greatness hidden in there somewhere.
Austin Butler, the man of the movie, manages to dominate the screen with a kind of effervescence that’s surprising in a relative newcomer. He dances, sings, and scowls with such fierceness that it’s hard to turn away. Butler’s performance is intense at worst, and bravura if you’re really into rock-and-roll. The movie doesn’t give Butler much space to get to discover his character, but when he does get some, he brings a sense of sensitivity and ire.
The story of Elvis is well-known. After Col. Parker first spots the up-and-comer at one of his barnyard concerts while on tour with his main attraction Hank Snow, he immediately sets his eyes on what the country boy’s career could look like. From that point on, it’s a rollercoaster ride showcasing an artist’s rise to fame and consequent fall from grace.
Luhrmann sets a dizzying pace to what he shows us of Elvis’ career: Sun Records, signing on with RCA, his relationship with his mother, as well as the many controversies surrounding his signature pelvic thrusts while performing. The film leans more towards showing the music that played a part in Elvis’ rise, than the man’s actual identity. It features artists like Big Momma Thornton and B.B. King, shedding light on not just the influence they had on Elvis, but also the fact that the latter was affected on an emotional level by the racism that was rampant in the South at the time. In real life though, Elvis hardly addressed any of those issues. The point Luhrmann tries to make is conveyed well enough: Black rhythm and blues constituted the punk rock elixir which Elvis used to gain worldwide fame.
Following a slump after being eclipsed by the British Invasion, a string of bad films, and of course the Colonel’s relentless branding, Elvis chooses his own path, which results in the Comeback Special of ’68. Luhrmann jams in Elvis’ marriage to Priscilla Presley without actually exploring the relationship – or even the age disparity – therein. The movie also plays down all the drug use and eccentricities, Elvis’ weight gain and ties to Memphis’ mafia. For a historian, these are all the things that led to the legend’s death at the relatively young age of 42. Luhrmann, meanwhile, is all about showcasing the King’s ebullient essence rather than his dirty laundry.
Luhrmann’s take on the story is pretty glitzy and surfaced, and not without issues. Too much fancy camera work went into this film, and some of the time this drowns out the main character himself. The first half hour especially gives a look at a superfluity of knee jerk editing alongside feverish montages and a cacophony of sound, plus color palettes that could put TikTok clips to shame. But then afterwards, the story finds its footing by taking things down a notch, so the audience doesn’t feel too self-indulging.
Despite the many flaws, Elvis is a good glance at the deadly trappings of fame. Luhrmann manages to interject his vision of America into the mix pretty well, with its melting-pot beauty overshadowed by a dark capitalistic shadow. Running a full two hours forty, the movie has a vital thrusting power that can rightly be attributed to Butler, who for all intents and purposes is a natural. Even during the parts where the hero fails in health and spirit, Butler manages to imbue him with the sort of dignity that sticks with you. Simply put, he is the best actor to play Elvis up until now.
