You know a film hits its mark that when you leave it, your heart is a little exhausted. ‘Elvis’ is that kind of film. I asked my wife, who accompanied me to the Sunday afternoon screening, how she liked it. “It was really good. Awfully sad.” was her response.
And she’s right. On both counts.
I think, especially given the subject matter, how much you enjoy Baz Luhrmann’s ‘Elvis’ is how emotionally invested you are. I was 7-years old when the man passed, thus my lone memories of him when he appeared on TV was that of the bloated and inescapably tired superstar, huffing and puffing in sequined jumpsuits in performances that were more loud, outlandish Vegas corn than showcases for pure, God-given talent. BUT….I was a fan. See, because my father was a fan. And in our house, there wasn’t a choice.
That’s probably why classic, Memphis-based, hip-gyrating ‘Hound Dog’ Elvis has always been fascinating to me, and a big reason why the first act of this movie had me spellbound; Luhrmann captures it, and captures it beautifully. Of course, the story isn’t necessarily about the rise of Elvis, played by Austin Butler in a star-making, Oscar-worthy turn. It’s mostly about the complicated relationship he had with his manager, Colonel Tom Parker, portrayed by Tom Hanks who…stop me if you’re heard THIS before….is brilliant despite the fact that he might’ve been miscast here. Given the dynamics of the two, the bulk of ‘Elvis’, and inevitably the heart of the project, is the fall of Elvis Aaron Presley…and how Parker, who wasn’t a Colonel at all (shoot he wasn’t even a Parker), contributed to it, if not caused it entirely.
But let’s return quickly to the dilemma of involving Hanks in “Elvis’. Again, he’s great….he always is. But Parker was such a weasel con man, even hidden behind makeup and a fat suit, Hanks simply exudes too much charm to make you outright dislike him; Hanks just ain’t a villain.
Still, it works because again…..the A game from all involved is there. And Luhrmann, no stranger to big, big movies laced with great music (‘Moulin Rouge!), takes phenomenal delight in making pit stops like Graceland, Beale Street and late 60’s/early 70’s Vegas come to life. It would be easy to say that ‘Elvis’ goes for style over substance….but there’s simply too MUCH substance behind it all to claim that.
It can’t be easy to make any kind of movie based on the life of Elvis Presley – he’s simply too large of a figure, perhaps the most recognizable individual of the 20th century, and his story was like a roller coaster of ups and downs and wild transformations. And of course, it has that sad, sad ending.
Fair enough. Luhrmann just made it LOOK easy.
