How does an actor go about playing Elvis Presley? More than a man or a musician, Elvis is a mythological rock ‘n’ roll legend who has always lived on in our collective consciousness. Yet in the hurried and sprawling rock biopic Elvis, Austin Butler, the 30-year-old former Disney actor who also played an impressive supporting role as Manson Family Member Tex Watson in Quentin Tarantino’s Once Upon a Time in Hollywood, stars as the musical icon Elvis Presley and plays the role with passion and fervor. Capturing his demeanor and mannerisms, Butler elevates the performance away from impersonation, and he plays the role and captures Elvis’s demeanor quite well–both emotionally and physically. There is nothing in Butler’s performance that will take you out of the movie. Sadly, the same can’t be said with Baz Luhrman’s overstuffed direction that takes the same routine biopic trappings that we have become so accustomed to over the years.
Even with Luhrman’s unconventional style that is energetic and dizzying, especially in the first hour, the script hits a lot of the same tiresome notes we have witnessed before in countless other biopics, and the result feels hurried as Luhrman and his fellow co-writers, Sam Bromell, Craig Pearce, and Jeremy Doner, overstuff the material to the point where the third act in Vegas–where Elvis begins to embark on his demise–never ignites or feels as involving as the first half. The end result is mostly a bloated biopic that never quite reaches the innovation, visual splendor, or dramatic impact that the material is capable of.
A film that explores fragments of Elvis’s life, through the narration of the man responsible for his stardom: Colonel Tom Parker (Tom Hanks), a carnival charlatan, who wasn’t really a colonel and who was an immigrant from the Netherlands, who observed Elvis’s full potential and instantly seized the opportunity to become his manager. Colonel Tom Parker actually guides the viewer through the journey of Elvis, not Elvis (Austin Butler), which is a wise move on Luhrman’s part because he keeps Elvis from a distance, while humanizing the icon and making him feel larger-than-life at the same time. Hanks’ heavily thick accent (and prosthetics) recalls his work in Steven Spielberg’s Terminal, but he becomes more of a caricature this time around, and his narration if filled with many self-rationalized insights, and other undependable details.
Sadly, Hank’s narration and onscreen presence overwhelm Butler’s skillful performance. While it’s so easy to impersonate Elvis, many actors have parodied him throughout the years with long sideburns, a jelly roll haircut, and a “thank you, thank you very much.” Butler’s performance is elevated away from impersonation and caricature, and Butler delivers a very convincing and vulnerable performance that is filled with self-doubt. Only on stage, is Elvis able to be himself. Butler portrays the charisma and vulnerabilities with genuine grace. Even when Elvis is strong-out and on pills, isolating himself in the Vegas hotel room (as he’s addicted to pills), there is still a certain dignity to the performance where you always feel empathy for a man who eventually feels into his own self-destruction while endlessly being a pawn to his manager.
What follows suit is the historical moments of key pivotal moments of the assassinations of JFK, Robert Kennedy, and Martin Luther King Jr. that have become routine and feel more like a cinematic history reel. They serve more as a navigational device for the audience to know what year they are in. Luhrman certainly delivers his maximalist directing style with intense camera movements, stylized lighting, and other editing techniques that transition shots together that still feel like abrupt cuts. The style actually makes the film highly watchable, along with Butler’s performance, yet the problematic character of Hanks and the biopic cliches make the film feel thematically cluttered and narratively scattered.
While there is commentary to be found about how Elvis culturally appropriated black music for his white audiences, Luhrman also examines how he had a fondness for the music. It’s a very pivotal moment in the film and also some of the most compelling. However, Luhrman just skims over and ventures into another chapter of Elvis’s life with the Colonel. It’s here where Luhrman’s style somewhat becomes a detriment to the material, while at the same type it spices it up from being dull. Luhrman’s portrait of Elvis is inspired by the music of black blues players on Beale Street as well as other places in and around Memphis, but it just feels skimmed over like many other elements in the storytelling that prevent it from fully igniting. We see a performance of Houng Dog by Big Mama Thornton (Shonka Dukureh) and performances by B.B. King (Kelvin Harrison Jr.) that explores Elvis’s fondness and love for gospel and blues. Determined to make money for his audience to support his mother, Elvis begins getting his songs played on the radio and starts playing at small gigs.
One of the most effective moments in the film, is how Luhrman stages one of Elvis’s opening acts in front of an audience. At first, Elvis appears very frigid and insecure on stage–only for him to suddenly break out and dance after an audience yells out an insult. Luhrman actually delivers a more visceral approach to the material as he cuts to Elvis moving his hips, utilizing his dance moves, and even showing shots of his crotch area as he crosscuts to the teenybopper female fans’ reactions, who are experiencing uncertain emotions they haven’t felt before. It is there that Colonel Tom Parker takes an instant interest in representing Elvis.
Sadly, Elvis eventually slips into familiar biopic terrain. We see the routine rise and fall beats–how his artistry overtook the man and how he alienated everyone else around him. His mother (Helen Thomas) dies in very cliched fashion. Priscilla (Olivia DeJonge) is the archetype wife that grows distant from Elvis. Eventually, Luhrman’s style slows down, and Luhrman fails to do anything revelatory or impressive to make the material feel alive, despite already knowing the inevitable outcome.
As the film goes on, Elvis is trapped and has resorted to just performing in Vegas as he yearns to have a world wide tour simply because Colonel Parker uses these shows to pay off debts that he owes to some Vegas businessmen. The exchanges between Parker and Elvis have their fair share of moments to behold, and the actors certainly fill their roles. While Hanks has often struggled to play a more villainous role—it’s a very stylized performance that upholds Luhrman’s love and preference for artifice. Though the character does suffocate the material—it would be quite curious to see this film from Elvis’s perspective and how it would play out. Once Elvis grows further into an abyss of isolation–Luhrman reveals how Elvis got addicted to pills and how the only real enjoyment he endured was on the stage in front of his fans. After locking himself into a hotel, Priscilla eventually leaves him, and Elvis gets more addicted and heavier.
Ultimately, Baz Luhrman ends up becoming his own worst enemy in his attempt to carve out a successful biopic of Elvis’s history. With his rapid and flashy style, he skims through his life, falling into biopic trappings and melodramatic detours at an overly rapid pace that feels overstuffed in the many decades it covers. The film moves too quickly, yet with all that running time, you walk away wishing Luhrman would have spent more time in a certain era, and in a quick blink of an eye, you can miss so much of what’s in the narrative. There are certainly pleasures to be found; there is so much in Elvis’s life one filmmaker can cover, and Luhrman delivers his style and finds his rhythm, yet most of the vignettes never feel cohesive or well-constructed; the result is a slight and disappointing one, especially when the film has so much going for it.
Meh… Not a fan of Elvis. There is almost no chance I will actually watch this. The review left me all I need to know.
Hmmm. I’ve been a fan of some of Luhrman’s other films. This one sounds disappointing though. Pity.
Would love to see a great movie about Elvis. But Baz Luhrmann’s style is too pretentious for me. I’ll just be hate-watching it wishing it were made by a director who cared about the subject and the audience’s connection to it more than this one who just wants to show off how he films things.
Romeo + Juliet is my favorite Lurhman film followed by Gatsby. The former was a wonderful divergent take of a centuries old story that’s been done to death in the exact same way. The latter was an updated classic that used modern musical artists but with a big band/swing twist. I think the juxtaposition of modern artist with music from a bygone era helped to show that while Gatsby might be a century old story, the socioeconomic issues at play then are still arpund today with equally disastrous effect on society. Nothing has changed.
It’s disappointing that Lurhman didn’t bring something more to this film. I most likely won’t intentionally watch it given this review
Good review or not, it is Baz Lurhman. I know I will get a bombastic, visual and auditory feast! I’m in!
Ray telling the truth about Elvis. I’ve played music my entire life and I’ve never heard a good musician say, let’s play some Elvis Presley. It doesn’t happen because the music wasn’t timeless nor was it far reaching. Elvis’ impact on music and the culture was negligible if anything. He was a pop musician for white fans.
His band was trash and he knew it, which is why for a decade he begged James Brown to use his band. Elvis could barely play guitar didn’t write music and could hardly sing, but he got labeled the king of rock (black music, especially at that time) by white people.
Elvis wasn’t respected by his musical peers, because he wasn’t musically gifted. He was told what to do by Ike Turner.
I enjoyed the film for what it was and learned a lot about Elvis’ roots that I never knew! I watched it next to a group of ladies that went to his concerts as teenager and one cried at the end! I see what the reviewer is saying about the flashy style and the Hanks character overwhelming the narrative. It was almost like there were two protagonists— one we were meant to like and they other we were meant to hate. The music, of course, carried the film when it couldn’t stand on its own two feet. Having said that, they used modern music in two spots and I felt it take me out of the era… If you’re a fan of Elvis, go see it. It’s worth the ticket price. I agree with Robert that the actor who played Elvis was remarkable.
Boy do I agree with this! Pretty much what I said on the radio yesterday about it.
I will probably not see it. For some reason it is not peaking my interest.
Not a fan of this filmmaker or Elvis, so I’ll be skipping it.
Elvis is canned bologna. A no talent having, culture vulture, sexual predator, and pedophile.
One could name scores of artist that would be contemporary to him that are better and far more important to music.
Simply put, Elvis is a white icon for non-existent white culture. There’s nothing original about him, and everyone involved in his rise to fame was kind of a piece of shit. I mean Ike Turner discovered him.
If there ever was a movie (biopic) that shouldn’t have been made, it’s the story of Elvis. Unless it was done like the Joker, where you know the guy is evil and you’re just seeing how he got to that point.
Well, that’s a hard one. Impersonating someone like Elvis is not easy. I believe you got to like Elvis and be a huge fan of him. Even though the 30 years actor did played the role very well. Those type of films the director must have a very detailed description and understanding very well the role of the character. Not easy to pull.
I agree. Exceedingly well-written review!!
He was the quintessential icon of our generation, and he continues to transcend generations with his trend-setting, larger-than-life impact on music and culture. He was called the “King” for good reason! I saw the film last night and have mixed feelings. The lead performance -by Austin Butler- was spectacular and the musical numbers were juke-box-electrifying, but typical Luhrmann montage-like segments and weak narrative cohesion that didn’t serve a film of that exceeding length. I expected a deeper exploration of the King’s life, even if it was a pointed examination of his relationship with his terrible agent. Tom Hanks was fine, though his accent was dodgy. Still worth seeing, and always great to pay tribute to our generation’s central icon, one I adore as much as everyone else. For me: 3.5 of 5.0. (I agree with others on Butler. He deserves an Oscar nod). I am positive the film will do huge box office, though at MC the grade now is a wholly unimpressive 63%, for whatever that’s worth. Bottom line: See it. If not anything else, it was entertaining.
Elvis was an entertaining ride and in the style of Baz Luhrmann makes the film unique from other biopics. The film at times was all over the place to the point it was annoying. But that’s Baz style and for some it works. It’s worth seeing it in theaters or soon streaming. Go see it.
A very thorough and enlightening review for what should have been a movie as entertaining as “Bohemian Rhapsody” (of course THAT was over-dramatized). I have liked his “Moulin Rouge” for his script and visuals. But his screenplays for “..Rouge,” “Great Gatsby”, “Australia” are clunky and overdone. I hope to see the movie this week. But only for Austin Butler’s performance. In the trailers, Tom Hanks looked uncomfortable and out of place. Getting him ‘attached’ is probably why it got made. But this is not about him or shouldn’t be. Watching some of the many, many
documentaries this past week gave us a much better idea of his impact. You mentioned his first Vegas performances were not highlighted as they should have been. As it was his first LIVE performances in over 6 years, it was a major bombshell in his career. He went to another level. That and the more informal ‘comeback’ tv show (in a ‘hot’ black leather suit!) showed him in full power. I’m not sure who should have written and/or directed this movie but it should not have been Lurhman.
GREAT Review…I was almost going to see this movie but after reading this I feel it’s better to keep Elvis amonst my happy memories. Very informative and well written!
Saw it yesterday and it was a simple entertainment. I agree w/your review about there being too much Col Tom Parker. Is it about Elvis? Parker? The two of them? Where was Luhrman going with this? It was a mish-mash. I’ve said my pieces about him earlier and this film confirmed it. His screenwriting is pedestrian at best, boring at worst. The dialogue were mostly inane sentences no actor would want to say. About a half hour way too long, esp., with so much ‘Parker’. Hope Tom Hanks got paid a boatload. He always totally commits to the character. The performance scenes of Elvis were very well done; the production design top class; some of the supporting roles were excellent (WHO played “Little Richard”? Terrific! And Elvis’ mother.. whew!). And, no question, Austin Butler was superlative, specific and magnetic as Elvis could be. I learned a few more things I didn’t know. Somebody had to make an Elvis biopic. Too bad it was this writer/director. Watch the real life documentaries if you want to know about him. But, finally, watch his electric performances. Nobody was like him and it was a time and place where he made rock ‘n roll explode.
I notice several people have left comments like Elvis was “no talent…culture vulture…lousy musician”. Why would you then watch this movie or comment ON THE MOVIE? The reviewer is not asking you to comment on Elvis the person, or Elvis the singer, or Elvis the musician. Robert Butler is writing about “Elvis” the movie!
Is Eminem a “culture vulture”?
I’ll make it real simple. If there was a Mount Rushmore of American music Elvis would be on it, period. I enjoyed the movie, found it entertaining, though in the last third it was a little too much like the making of a MTV music video, or one of those “behind the scenes”. The complexities of his life, the phases of his career, his love for Gospel and “Black” music, the relationship with his mother, and with Colonel Parker is just too much to capture in a film. We’re seeing it from the viewpoint of the man that robbed him blind so we get a biased view.
Listen, if you like Elvis the performer you’ll like “Elvis” the movie. If you don’t like Elvis then don’t bother with the movie. His place in history is assured with or without your vote.
Thanks for the well written, thoughtful and comprehensive film review. I also love to read the reviews of other filmmakers who watch films with a critical eye. I have always had a crush on Elvis Presley, ever since I can remember. I was thrilled to see this film and loved this over the top biopic of Elvis’ life. Luhrman weaves a lavish fable with gritty and glitzy costumes, hair and makeup depicting Elvis’ childhood, the King’s meteoric rise to fame and untimely death. Told from the point of view of Colonel Tom Parker, it had a circus carnival feel. The creepy claustrophobic shots of the house of mirrors foreshadowed the predatory actions of Colonel Tom’s heavy handed management and crushing control. Austin Butler did an incredible job embodying his character with a star making performance. 4 out of 4 stars
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