Elvis

In the first half of Elvis, emphasis is placed on, among other things, the rebellious Elvis’s clashes with the censorship board, which considers his gyrations to be obscene, whereas the second half focuses primarily on Presley’s conflicts with the people close to him, whose expectations he either refuses to meet on principle or, to his own disappointment, he is unable to meet. A running theme throughout the film consists in Elvis’s steadfast effort to preserve his own exceptional personal and musical identity, which is the only key to the artist’s success and immortality. The charismatic Austin Butler, a gifted singer in his own right, is absolutely excellent in the title role. He is not only able to captivate without batting an eye during the fantastically filmed musical numbers, but he also manages to naturally and sensitively convey a broad range of emotions even in the quieter moments. Most of the supporting and peripheral roles are also well cast according to type. Of course, the great Tom Hanks has the most space in the film as Presley’s manager and as the narrator, who in his commentary repeatedly tries to convince us that he always meant well by his charge, but his actions, captured by his image, tell us the opposite is true. His perspective as an unreliable narrator naturally complements Elvis’s perspective and the film is based substantially on the transformations of their friendship and family/business relationship. The story adheres to a precisely rhythmized structure, in which Elvis’s performances always comprise the climax of individual segments and time periods. Director Baz Luhrmann does his best work since Moulin Rouge and he also excels as a phenomenal audio-visual storyteller and master of the edited montage, who needs only a few two-second shots and appropriate musical backing to instantly capture the right mood of the given moment, setting and circumstance with unparalleled brilliance. In the genre of biopics about music legends, Elvis is a gem that presents its title character in many different situations and styles, engages your interest regardless of whether or not you know his life story and songs, and simply cannot conceal the identity of its director thanks to Luhrmann’s many recognizable trademarks and filmmaking techniques. From the opening scene onwards, it is an audio-visually riveting and engaging film that demands to be seen on the big screen. (06/24/2022)

Two and a half hours of visual debauchery where the editor, the cinematographer and the director's specific signature reign supreme. However, when it comes to the emotional level, with the exception of a few moments, the film only touches the surface. Luhrmann doesn't know how to work well with characters and their personal motivations and emotions, which, among others, was also problem in The Great Gatsby and other films of his. As an homage to Elvis, it is alright, as a proper viewer experience, not so. In this, Elvis is beaten by the romantic A Star Is Born. (10/30/2022)

When Baz Luhrmann chose Elvis Presley as his new subject, it was clear that once again it would be a film that you had to see more than once. That’s exactly what happened. The result is brilliant. A great homage to classic great biopics with a fatal antagonist (in the style of Amadeus) and the splendor of a dying carnival world (American Horror Story: Freak Show or Nightmare Alley). Where are my DVDs of G. I. Blues, Blue Hawaii and Girls! Girls! Girls!? ;) (07/25/2022)

An energetic romp until the overweight, stoned ending. Baz Luhrmann piles up opulent shots, attractive camera fly-overs and the remixed and reimagined Elvis hits in the background pull you into the story immediately. Hanks’ unreliable narrator, denying any responsibility for the King’s stagnation and eventual decay, is an unlikeable, calculating bastard. His typical economic dodging, the merchandise scene and the corporate over-emphasis on security are the essence of everything that is bad about today’s world and Tom "America’s boy next door" Hanks lays it on us with great verve. Austin Butler is uncompromising and dedicated as Elvis, very faithfully copying his expressive dancing style; Feyd-Rautha is in good hands. The story follows a classic rise and fall pattern, while also going up interesting side roads, whether it is the luck of a white kid who was lucky enough to grow up in a better and all-round righter (black) environment. The timing of the premiere of this movie at the end of a PROUD month is a master stroke straight out of the Colonel’s textbook, the parallels are crystal clear. And Parker’s efforts to keep the King away from politics, family rows, disintegration of marriage, et cetera, et cetera, et cetera. But it never runs on the spot. A most quality memorial to a legend. (07/03/2022)

A lavish and ornate ride. The film doesn't stop for a moment, it's bursting with ideas and, unlike The Great Gatsby, it's fully deserving of them all, because you expect exactly what Elvis gives you from a film that pays homage to the King. How timeless his music was is evidenced by probably the best original soundtrack I've ever heard, which puts Elvis's hits into the hands and throats of contemporary musicians who do whatever they want with them, and yet they're still absolutely great. Great joy... And as for Austin Butler, also a big surprise – I didn’t like him much in the trailers, but in the film he just needed a few minutes and he had me in the palm of his hand. And there were tears at the end, I just couldn't help it. Tom Hanks was also great, he shows what a versatile actor he is when given the chance. Great job. I have the urge to go to the cinema again like I did for Bohemian Rhapsody or the unjustly neglected Rocketman, although those films couldn't be more different. (07/01/2022)