Elvis REVIEW – A Dazzling Showpiece
Baz Luhrmann’s Elvis should not have worked. But from the moment it starts, Luhrmann’s signature Bazmark logo and a remixed version ‘Suspicious Minds’ play in the background, you already know that you are about to see something special. The movie begins by showing our protagonist, Colonel Tom Parker (Tom Hanks), who is on his deathbed and reminisces about his life as Elvis Presley (Austin Butler’s) promoter. He also attempts to refute claims that he “killed” the King of Rock and Roll.
The film’s rest follows a typical paint-by-numbers structure. It starts with Elvis taking Hank Snow (David Wenham’s) show by pelvic thrusting, sending female audience members into a state euphorica. He then spends his last years in Hollywood working alongside Steve Binder (Dacre Montgomery), Jerry Schilling (Luke Bracey), before his final years as headlining at Las Vegas International Hotel. His death was in 1977.
Luhrmann’s exuberant and maximalist style is what makes Elvis stand out from the crowd of formulaic biopics. Luhrmann is relentless in capturing your attention from the film’s opening sequence. He uses a slew of camera tricks, split screens and overlays as well as multiple fades to blacks. Luhrmann is a filmmaker who values style more than substance. If you don’t enjoy the first five minutes of the film, you’re likely to not like the rest of the film.
Luhrmann sees us excited to see Butler play Elvis. He presents the King as a mythical figure that will sweep the nation, before we actually see him on stage. We see glimpses into his future before Luhrmann unveils his Elvis to the rest of the world. We meet Elvis as Parker tells the story. We become equally fascinated by Elvis’ singing and thrusting moves as a result. Some people believe that Luhrmann’s portrayal of Elvis’ pelvic thrust in the film was too serious. However, the scene in which Butler’s Elvis makes women squeal uncontrollably in response to the way Butler portrays Elvis Presley throughout his film is a perfect example.
