Almost a decade has passed since Baz Luhrmann’s last film. Any questions that time may have mitigated are answered within the first few minutes of Elvis; even by Luhrmann’s usual standards, the first act of this biopic is frenzied with cinematic stunts. rat-a-tat edition. dream sequences. animated sequences. Loop-by-loop camera movements. Modern and incongruous soundtrack. Immediately puts his feet on the ground and accelerates the life of Elvis Presley. It’s a great ride, but sometimes it goes too fast for his audience to get more of a taste of the characters than him.
Luhrmann’s ambitions are commendably grandiose. It follows the life of Presley (Austin Butler) from his teens, when he finds himself performing alongside weary country music, to his last days as a bloated addict, so exhausted he can’t even hold his microphone. This is not where Luhrmann stops. He also tells the story of Colonel Tom Parker (Tom Hanks), Presley’s manager, who is portrayed as a scheming villain who never misses a chance to make money and puts money before Presley’s happiness. And he also aims to show how America changed during Presley’s career from the 1950s to the 1970s, particularly for blacks, which Presley supported and exploited, drawing occasional influences from black artists. Trying to do the same, even during a 159-minute runtime, it’s no surprise that most are rushed.
Luhrmann’s “more is not enough” style is most effective when it comes to broad and simple emotions. In Red Mill! This is Romeo + Juliet, stories of desperate love at first sight, their explosive rhythms and romantic excesses amplify any primal desire. It is when he has to stop and contemplate more subtle feelings that his confidence seems to abandon him. Their Gatsby the Magnificent he was a failure because he had little interest in someone’s inner life. I was only there for the party. Elvis it is not a failure, but it reveals once again Luhrmann’s disinterest in digging beneath the surface.
Presley’s story is told on a soap opera scale, with miserable ups and downs and little in between. Parker and Presley’s relationship seems little explored, with the otherwise intelligent Presley simply in the hands of a man who is clearly manipulating him. In scenes where Presley extracts songs from the mouths of black artists, Luhrmann does not give a single black character a meaningful voice, a surely unintended irony.
Austin Butler is as sensational as Presley. He convinces all ages, from adolescence to 42 years.
Where Luhrmann absolutely excels, doing some of the best work of his career, is in portraying the compelling yet destructive love story between Presley and his live audience. The acting sequences are a triumph. In Presley’s first live show, we see lust spreading through the crowd like a virus, with girls yelling at him in a way he doesn’t understand but loves. They both become addicted. As the film and Presley’s career progress, audiences become an insatiable animal, devouring more and more of Presley’s energy as they yearn for another beloved hit, ready to give it their all. There is a manic, sexy, almost dangerous vigor to these scenes, which tells us more about Presley’s interiors than the rest of the film.
Austin Butler is as sensational as Presley. It’s a big request for an actor to disappear into a man so famous that everyone and his uncle make a bad impression on him. Butler caters for all ages, from teenagers to 42 years old. He isn’t a particularly close visual match with Presley, but he masters the vocal inflections and subtle details of Presley’s movements on stage, which means he captures her presence. More importantly, he gives the feeling of a person, with normal insecurities, below the public image. Although Luhrmann refuses to find out who this normal person is, Butler suggests that he is there. Hanks’ Parker is written in a cartoon way and interprets it appropriately. It’s not realistic but it’s fun.
Nobody comes to see a Luhrmann film expecting something. under the upper portion. His Elvis has all the sparkle and magnificence you could wish for, but it portrays an icon, not a real man.
Source: Empire online
Benjamin Smith is a fashion journalist and author at Gossipify, known for his coverage of the latest fashion trends and industry insights. He writes about clothing, shoes, accessories, and runway shows, providing in-depth analysis and unique perspectives. He’s respected for his ability to spot emerging designers and trends, and for providing practical fashion advice to readers.
