Luhrmann’s most pertinent credits include the visually striking musical “Moulin Rouge!,” which offers obvious stylistic parallels. Yet employing the rambunctious, surreal aspects of that 2001 romantic fantasy clashes with the demands of a biographical film, drowning the substance with fast-paced and frenetic editing that blunts the emotion of Butler’s spot-on performance, which has been embraced by Presley’s family
and would be a showstopper if only given room to breathe.
Although Elvis Presley’s life
has been documented in a variety of projects, the main precedent here seems to be a 1993 TV movie, “Elvis and the Colonel,” which focused on the relationship between the star and his manager/handler Col. Tom Parker, casting Beau Bridges as the latter. A colorful and shadowy figure, Parker’s control prompted allegations of serious financial shenanigans that were only exposed after Presley’s death in 1977.
Here, Luhrmann (who shares script credit with three others, nearly a decade after his last film “The Great Gatsby”) makes the near-fatal error of primarily telling the story from Parker’s point of view. That places the emphasis on a heavily made-up Hanks — adopting an accent that can at best be described as punishing — who serves as the narrator and directly addresses the audience.
“I am the man who gave the world Elvis Presley,” Parker boasts, adding, “Me and Elvis, we was partners.”
“Elvis” thus kicks off at the critical phase when Parker comes into Presley’s life as he’s regionally launching his singing career. But Parker’s frame of reference has less to do with music — indeed, he’s largely indifferent to that — than carnival attractions, almost salivating when he identifies the powerful effect that Elvis’ gyrations have on females in the crowd.
While that still…
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