I went into Best Picture nominee #8 intrigued but not exactly excited. I was interested to see what Baz Luhrmann’s brand of excess would look like as a musical biopic, but while I appreciate Elvis for his role in pop culture history, I wouldn’t call myself a fan by any stretch. I feel like I understand him less as a person or a musician and more as an idea, a symbol of American rock ‘n’ roll. All that said, I really wound up enjoying the film.
Colonel Tom Parker is a mover and a shaker, someone who makes things happen through sheer force of will, underhanded dealings, and hitching his wagon to the right voice. The first time he sees Elvis Presley perform, he knows he has to manage the young singer’s career. So begins a wild ride of touring, musical and aesthetic exploration, and the world collapsing into moral debate over a pair of gyrating hips. But as Elvis’s star rises, troubles come with it, in no small part thanks to the colonel’s desire to keep the singer beholden to him.
As I said, I’m not an Elvis fan, and so I know very little of his history beyond the big-ticket items, such as his later issues with addiction. As such, I can’t say how well this film puts the “bio” in “biopic,” although I am aware of at least a few details that were massaged. The movie ignores just how young Priscilla was when they met, and while it explores the inspiration Elvis found in the Black music scene, it doesn’t really deal with the fact of this white boy becoming famous due to mostly Black music and style. Other than that, I don’t know how faithful it is to history.
I do know, however, that it’s an entertaining film. As with most musical biopics, the main plot beats get a little paint-by-numbers, and at more than two-and-a-half hours, the length starts to strain. But Luhrmann’s storytelling and directorial flourishes keep things feeling fresh, creative touches that convey familiar beats in interesting ways, and the dazzling camera work earned the film a Best Cinematography nomination. I particularly love how the film shows us Elvis’s musical awakening as a boy in Memphis, equally transfixed by the music emanating from a jazz club and a revival tent. This sequence leads wonderfully into the first time we see him perform, where the influences are plainly threaded through his voice, body, and style.
Tom Hanks is doing the most as Colonel Tom Parker. For whatever reason, what best comes to mind is a used car salesman crossed with the Penguin, wrapped in a European accent of vague origin. It’s a performance that takes a little getting used to, but I got on board with it quickly enough. The film also features appearances from Kodi Smit-McPhee, who was in last years The Power of the Dog, and David Wenham (Faramir!) Not to mention Kelvin Harrison, who played Fred Hampton in The Trial of the Chicago 7 and makes a nice turn here as B.B. King.
But of course, it’s all about Austin Butler’s Lead Actor-nominated performance as Elvis. Butler was someone who looked familiar to me but I couldn’t place him—IMDb finally told me I must be recognizing him from Once Upon a Time in Hollywood. At any rate, I don’t know much of his other work, but he’s incredibly good here. Obviously, it’s a skillful impression, and he nails the voice and physicality required to play the King. But beyond the mimicry, it works because, in the same instant that Butler is delivering those larger-than-life elements, he also makes Elvis feel very human and real. This isn’t a performance of a mythic figure in rock history; this is a portrayal of a talented, flawed man who dealt with serious struggles and exploitation. For me, this is what really resonates in Butler’s performance.
Warnings
Sexual content, drinking/smoking/drug use, language, and thematic elements.
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