I watched Elvis and I didn’t like it. 2/5
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“Elvis” (2022), directed by Baz Luhrmann and featuring Austin Butler as Elvis Presley, offers a vibrant biographical portrait of the legendary musician’s journey from Tupelo, Mississippi to becoming the iconic King of Rock and Roll.
Luhrmann’s visual direction, in collaboration with cinematographer Mandy Walker, is nothing short of a vivid spectacle. Through a kaleidoscope of color and choreographed movement, they bring Elvis’s story to life with an electric energy that pulsates on screen. Butler’s portrayal of Presley is particularly noteworthy, exuding a charisma that captures the essence of the musical legend. However, despite these strengths, the film grapples with pacing issues, often veering into what feels more like an extended music video than a feature-length narrative.
The dynamic between Presley and his manager, Colonel Tom Parker (played by Tom Hanks), emerges as a narrative cornerstone. Luhrmann adeptly navigates this complex relationship, illustrating Parker’s exploitation and control over Presley, leading to a palpable resentment from the latter.
The musical performances are a standout feature of the film. Butler not only embodies Presley’s character but also delivers compelling renditions of his iconic songs. The production values, including staging and choreography, are commendable, adding depth and authenticity to the musical sequences.
Mandy Walker’s cinematography is a visual feast, employing techniques such as slow motion, rapid cuts, and split screens to create a visually dynamic experience. These stylistic choices amplify the film’s energetic portrayal of Presley’s life.
Certain scenes stand out for their emotional resonance and technical brilliance. The moment Presley takes the stage at Sun Studios is a visual marvel, pulsating with the raw energy and magnetism that defined his early performances. His rendition of “Hound Dog” on The Ed Sullivan Show is another memorable high point, echoing the iconic televised moment in rock history. The confrontational scene between Presley and Parker is a poignant reflection of the tensions simmering beneath the surface.
However, the film’s extended runtime is a notable drawback. Trimming excess minutes could have streamlined the narrative and maintained a more engaging pace. Additionally, the emphasis on musical sequences occasionally overshadows character development and plot progression, bordering on a surplus of style over substance.
Furthermore, the film skims the surface of Presley’s personal life. Deeper exploration of his relationships with spouses and children, as well as their impact on his career, would have added layers to the narrative.
In summary, “Elvis” offers a visually dazzling portrayal of a music icon’s meteoric rise. While Austin Butler’s charismatic performance and Luhrmann’s directorial flair infuse the film with vitality, its extended runtime and occasional veering into music-video aesthetics may deter some viewers. Despite these shortcomings, the film remains an engaging homage to the legendary King of Rock and Roll.