Elvis Baz Luhrmann's biopic steers clear of the hidden shadows

Elvis Baz Luhrmann’s biopic steers clear of the hidden shadows

‘Elvis’: Baz Luhrmann’s biopic steers clear of the shadows Given Elvis’s legendary status, Luhrmann’s 160-minute work disappoints, largely because he has chosen to edit the piece so as to make it seem restless — a movie without a soul with frames flashing past so fast that there is no time to sit and savor the spectacle. 

The story is mostly narrated by Colonel Tom Parker (Tom Hanks), who as Elvis’s shrewd manager was as much responsible for the singer’s rise, pushing him to travel from Memphis to breathtaking heights, as for his fall.

It is this strange and sometimes vicious relationship between a domineering Parker and the singer (played by Austin Butler) that the movie fails to explore — it merely skims the surface here and there and audiences are only given glimpses of how the young star was manipulated and controlled, with his dream of becoming a serious actor derailed by his manager.

We do get a glimpse of Elvis’s early life, including his struggles, and the influence of black music — which is a relief given the recent realization in the press and on social media that the star was indeed influenced by the music of black artists in an atmosphere of entrenched racism — his two-year military service in Germany and marriage to Priscilla, among other events. However, the director chooses to remain on the brighter side, with the rock ‘n’ roll legend presented as dashing and debonair until the very end, although that was not the reality. 

But what audiences are really here for is the music, and on that note “Elvis” fails to deliver. Presley’s own vocals were used in the later part, and Butler sings the early hits and does offer some electrifying moments, but the soundtrack could have been far more engaging. 

A magnificent Hanks manages to evoke the Jekyll-and-Hyde persona he plays with a fair degree of conviction, although he does slip up now and then. Meanwhile, an equally impressive Butler as the hip-swiveling, guitar strumming, the foot-tapping king is often mesmeric but it is not easy to impersonate a man whose aura is still dazzling.

The writing by Sam Bromell, Craig Pearce, and Jeremy Doner fail to give balance to the narrative and despite some engaging performances, “Elvis” is a bit of a letdown.


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