Elvis is a blitzkrieg montage

PER a movie about Elvis called Elvisstarring Austin Butler as Elvis and Elvis was on all the posters, trailers and promotional materials, it was an odd decision to make Colonel Tom Parker (Tom Hanks) the main character instead.

However, that’s exactly what director Baz Luhrmann does with a biopic, with such over-the-top style and direction that blends with the film’s reckless, high-energy editing that ultimately turns Elvis into an insane experience.

Attack on feelings ElvisThe hyperactivity almost succeeds in distracting the viewer from the fact that this is not a movie about Elvis, but about his slimy manager Parker.

Not as advertised

Elvis begins with Parker, played by Hanks in a thick suit and a goofy accent like Colonel Sanders in a KFC commercial, being rushed to the hospital, almost on his deathbed.

The rest of the film is essentially framed as Parker speaking from the dead, with Hanks’ cartoonish accent and Luhrmann’s words, trying to justify what happened to the king of rock and roll.

The film is, in fact, created as Parker’s last dream before his death.

It’s not a joke.

From time to time, with no understanding of the timing or logic of when or why these scenes are arranged exactly the way they are, a dying Parker appears as he hobbles like a penguin against a casino with bad CGI to intervene as he did. nothing wrong and how he didn’t treat Presley like a slave.

Because of the way Hank’s Parker tells it all Elvis gives no idea who the film is named after, and Presley Butler becomes just a puppet pulled by the film’s director.

It would be almost symbolic if it weren’t for such tragic filmmaking.

Lost in the rock and roll lifestyle

Pinball through major events, leaving nuances between each moment, Elvis flies by so fast that I somehow missed if the film included the death of Presley’s mother or how he looked after 14-year-old Priscilla.

Reading Presley’s Wikipedia page would be faster and would provide more information about how music shaped him and how he shaped music in all its aspects than the entire text. Elvis‘nearly three hours of work.

It’s impressive, despite how long the film is and how Luhrmann beats audiences with almost every major moment in Presley’s life, the film still has nothing of value to say, as Luhrmann seems too preoccupied with the hype, dazzle and spectacle of Presley’s musical life.

I say “almost” because Elvis completely skips – or rather reduces – Presley’s film career to one fleeting line mentioned in passing from – surprise, surprise – Parker.

In between Hank’s unbearable, arguably worst performance as Parker and the attack of “cut two shots into one shot, add ten different angles, enlarge the pores of seven different extras, turn the camera 180 degrees”, Butler is superb as Elvis Presley.

Musical episodes in which Butler’s stamina, vocals and stage presence are strained to the limit, and the actor comes out spectacularly in the lead, easily demonstrating a game that differs from the usual facial expressions of Elvis Presley fans.

In even rarer moments when scenes are given enough time to rest, Butler’s Presley transcends mimicry even further, exuding what Presley felt, went through and became, especially in the legendary musician’s final years, after Parker’s corrupt managerial practices and recipe . drug abuse broke him down spiritually, mentally and physically.

But there the scenes are far apart, as Luhrmann is much more obsessed with the spectacle of Elvis Presley.