Baz Luhrmann's Elvis (2022) is precisely what I expect from a Baz Luhrmann production: a bold and lavish-looking period piece with the implementation of frantic-paced editing and modern music to give the often-historical settings and stories a shot of contemporary energy. For the most part, this works in the movie's favor. From Austin Butler's star-making performance as Elvis Presley to the riveting musical performances, excellent production design, period-correct recreations of the iconic hair and makeup and costumes, and Luhrmann's lively yet emotionally compelling direction, Elvis has all the ingredients necessary to sweep the award season. I had a blast watching this movie, so much so that I saw this twice in theaters, but before I forget, here is a quick summary.
Elvis follows Presley (Butler)'s life story through the lens of his complex relationship with his mysterious manager, Colonel Tom Parker (played by Tom Hanks). The movie also takes its time to examine Elvis' relationship with and marriage to Priscilla Presley (played by Olivia DeJonge) and features several highlights from the musical legend's personal and professional highs and lows.
As stated earlier, Butler's performance as Elvis Presley is a star-making one that should land him an Oscar nomination for Best Actor. His natural charisma, full-hearted embodiment of the legendary icon, and vulnerable emotional depth, coupled with his vocal range during Presley's early days (the actual Elvis' vocals are utilized during his later years), make for a highly memorable turn that respects the subject as the compelling human being and extraordinary musical artist he was. Hot on Butler's heels is Hanks' turn as Colonel Tom Parker, the sleaziest, greediest, and most manipulative double-crosser I have ever seen on the big screen (at least from Tom Hanks). DeJonge is wonderful as Priscilla Presley, for she shares excellent chemistry with Butler, and their relationship adds some much-needed heartfelt tenderness to the film's frenetic energy and makes Elvis' ultimately tragic end all the more heart-wrenching.
The rest of the supporting cast (including Dacre Montgomery as television director Steve Binder, Helen Thomson as Elvis' late mother, Gladys Presley, and Richard Roxburgh as Elvis' father, Vernon Presley) does excellent work, but I found the appearances from Kelvin Harrison Jr. as B.B. King, Yola as Sister Rosetta Tharpe, the late Shonka Dukureh as Willie Mae "Big Mama" Thornton, and Alton Mason as Little Richard, especially memorable considering not only Elvis' close associations with and connections to said artists but they simultaneously introduce new generations of viewers and music fans to their influential musical contributions. Also, keep an eye out for an amusing cameo at the beginning from Kodi Smit-McPhee as country music artist Jimmie Rodgers Snow.
On a side note, part of me wonders why Baz Luhrmann made this film in the first place. I can assume that it was to answer the burning questions of how a legendary performer like Elvis Presley, who seemingly had it all with an incredible musical career, a loyal worldwide fanbase, and sell-out shows in Las Vegas, passed away at such a young age with terrible health and such financial debt. This film mostly answers those questions, albeit with some creative liberties taken. More on that subject later.
The direction of the musical performances is top-notch, as expected. Elvis' high-energy Louisiana Hayride performance, in particular, is where my audience had the strongest reaction throughout the movie: cheering, laughing, and having a fantastic time. Also, this film's shot-for-shot recreation of Elvis' showstopping performance of "If I Can Dream" during the taping of his '68 Comeback Special in the wake of Martin Luther King Jr. and Robert F. Kennedy's assassinations is especially powerful given how hard both the real-life and on-screen Elvis fought for creative control during the Comeback Special's production. Production, music, and sound-wise, these may very well be the best of the year.
Speaking of production aspects, the production and set design, hair and makeup, and costumes are all incredible. With Luhrmann behind the camera, visual attention to detail is a given. However, this film's vibrancy and highly immersive and detailed qualities make this movie a standout among most of the films I have seen so far this year. Not only do the actors do amazing work transforming into their respective historical figures, but every artist and technician who contributed to each technical aspect does an excellent job in helping bring the ever-changing visual, sociological, and cultural landscapes of the various time periods coupled with Elvis' ever-extravagant lifestyle to the big screen.
However, after the "If I Can Dream" performance, the film begins to go downhill regarding pacing and energy levels. Not that it ever became boring, but it became more predictable once Elvis' tragic final years came to pass. From Elvis being left with considerable financial debt, Priscilla's divorce from him, and taking their daughter Lisa Marie with her to the singer's declining health, the film begins to take a more conventional route genre-wise as a biopic.
As for detractors from my overall enjoyment of the film, I found Luhrmann's utilization of contemporary artists like rappers Doja Cat and Denzel Curry within specific sequences in the movie tonally jarring. Then again, it is expected from Baz Luhrmann, who famously collaborated with Jay-Z for the soundtrack of The Great Gatsby (2013) and sampled many popular songs for his modern classic Moulin Rouge! (2001). Also, for an Elvis biopic, this film did not dive deep into Elvis' drug problems or eating habits as I was initially anticipating. Regarding Elvis' drug use, there is one shot where he is on the road during his early years and takes a pill to energize himself, and we see him spiral out of control with his dependence on prescription drugs later in life, but not much more than that. As for Elvis' excessive eating habits, it is barely touched upon, save for a couple of shots where I could see the infamous Elvis Sandwiches (deep-fried peanut butter, jelly, banana, and bacon sandwiches) stacked on a silver platter, but not a single shot of Elvis taking a bite out of the said sandwich.
On a side note, the movie's runtime is two hours and thirty-nine minutes, but upon watching this film a second time, I noticed that there are flashbacks to scenes I had not seen before, like an interaction with gospel legend Mahalia Jackson (played by Cle Morgan). It is possible that this scene and several centering on Elvis and his first girlfriend, Dixie Locke (played by Natasha Bassett), and his famous meeting with U.S. President Richard Nixon, are present in a reported four-hour-long director's cut and were cut for time. Whether said director's cut will be publicly released on home media or streaming is hard to say. Regardless, that is something that has piqued my interest.
Despite feeling at times like an abridged edition of Elvis Presley's life story, I had a fun time with Baz Luhrmann's Elvis. While imperfect, it is a worthwhile watch. I do not doubt that a new generation of fans will come out of this movie with a newfound appreciation for Elvis Presley's music and cultural impact. I cannot think of another non-superhero blockbuster that I enjoyed this much, so I will be watching the award season closely to see if this movie receives the recognition it deserves.
Final Score: 8 out of 10
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