Austin Butler rules as the King, but Baz Luhrmann's 'Elvis' is an unchained mess of a movie

 Baz Luhrmann’s musical drama “Elvis” has all the pomp and pompadour one would expect by putting Elvis Presley’s iconic life on screen. If only the storytelling was as dazzling as his bejeweled jumpsuits.

The relationship between Elvis (Austin Butler) and his notorious manager, Colonel Tom Parker (Tom Hanks), is at the center of an overlong, narrative mess (★★½ out of four; rated PG-13; in theaters Friday), as excessive as one of the King's fried peanut butter and banana sandwiches. 

However, with Butler’s stellar portrayal, it’s never dull, and more enjoyable than not. The musical numbers are often dazzling, boosted by Luhrmann’s inimitable style. And the plot (for better and for worse) covers a ton of Presley’s life. But even when it’s over, you’re still not sure what Hanks is doing.

America’s Dad plays the literal heavy in “Elvis,” which at first is told from Parker’s perspective (although it doesn’t stay that way). A manipulative carny at his core, the Colonel watches young Elvis perform, and sees potential for the greatest show on Earth. And he’s not wrong: The Mississippi-born Memphis kid with rockabilly hair and a gawky frame goes on stage, does a “wiggle” with his hips, and female fans go absolutely bonkers. Not so shockingly, "Elvis the Pelvis" doesn’t play well in the conservative Bible Belt of the South.

The film quickly rolls through his early days as a rising star in the 1950s, as Parker convinces Elvis to take him on as manager, and the singer causes enough of a ruckus that getting drafted into the Army is a decent PR move. Stationed in Germany, he meets future wife, Priscilla (Olivia DeJonge), whom Elvis begins to trust more than the sly, shady Colonel. 

After the movie’s fever-dreamy first half, Luhrmann puts on the brakes from that breakneck pace as he reaches the late 1960s. After Elvis’ foray into Hollywood, he and Parker land in Las Vegas, where Presley has a musical comeback, but goes down a bad path as the Colonel pulls strings behind the scenes like a devilish puppet master. (When Elvis sings “Suspicious Minds,” the timing is right on the nose.)

Butler makes for a phenomenal King of rock ’n’ roll because, rather than going the impersonator route, he grows into being Elvis just as the real one did, from truck driver to musical deity. And while Presley's own vocals were used in the latter part of the movie, Butler sings the early songs and brings real electricity to a performer who's just beginning to leave the world all shook up.

Read More: Jurassic World Dominion Full Thailand

Hanks’ Parker is a harder sell. The makeup and prosthetics work is amazing, but the character never quite lands, as Hanks’ accent bounces from German to Leprechaun to “evil Woody after a hard life in the toy box.” (In reality, the Colonel was Dutch.) Also hampering his role: The movie centers on Parker for a good bit – with hints of unreliable narration and scenes where he takes control of the plot in meta fashion – but never fully commits to his point of view, adding to the film’s haphazard nature.

Read More: Dragon Ball Super: Super Hero Full Movie

While the kitchen-sink approach to Presley’s life doesn’t totally work, the film does have fits of strength. DeJonge is spot-on as Priscilla, although Elvis’ marriage is treated mainly as a subplot. The movie also interestingly dips into his respect for (and relationship with) the influential Black musicians of Beale Street, such as B.B. King (Kelvin Harrison Jr.).

Read More: Lightyear 2022 Full HD

Luhrmann’s gift for presenting musical fantasias, proven in his glorious “Moulin Rouge,” is on display here, not only with the well-crafted Butler scenes, but with a stirring performance of “Hound Dog” by Shonka Dukureh (as Big Mama Thornton), a soulful “That’s All Right” courtesy of Gary Clark Jr. (channeling Arthur Crudup), and a show-stopping “Tutti Frutti” from Alton Mason (who plays Little Richard).

Read More: The Anchor Dubbed Thailand

You can’t help falling in love with the music, Butler's transformation into a legend and Luhrmann’s signature flourishes: Comic-book panels reflect Presley’s love of superheroes, and there's a groovy ‘60s-style movie montage. However, at the risk of checking into Heartbreak Hotel, don’t get your hopes up for a cohesive classic befitting a King.

Read More: The Roundup 2022 Thailand Version

Comments

Post a Comment

Popular posts from this blog

Paradise Highway is the kind wayward

 What bet did Juliette Binoche lose? I only ask because writer/director Anna Gutto’s melodramatic thriller “Paradise Highway” is the kind wayward, tonally muddled project an actress the caliber of Binoche would only sign onto if promises were broken and payback was required.  It’s difficult to know where to begin with the autopsy of “Paradise Highway.” Shall we discuss the cliché “One Way or Another” needle drop? How about the superfluousness of several character arcs? Or maybe how this movie takes a great interest in broken systems without sketching the humans at the center? Gutto’s film certainly doesn’t fail to remind viewers of its importance. But you spend the entirety of its languid, nearly two-hour run-time wondering when this serious narrative will find space to be good.  As Sally, a big-rig trucker traversing America’s south, a miscast Binoche occupies our primary focus. Sally worries deeply about her troubled brother Dennis (Frank Grillo). Though he’s nearing parole, a few un
Read more

'The Guilty' Review: Jake Gyllenhaal Delivers Outstanding Performance in Netflix's Contained Thriller

Image
 Jake Gyllenhaal doesn’t need a performance vehicle to prove he’s one of the best actors of his generation, but that’s exactly what he gets in The Guilty, a dramatic thriller from director Antoine Fuqua that’s being distributed by Netflix. At only 40 years of age, Gyllenhaal has more than proven his range, avoiding being pigeonholed by taking on roles that are challenging in different ways. Brokeback Mountain, Zodiac, and Nightcrawler all reveal different facets of Gyllenhaal’s abilities as a performer, so it’s no surprise that when given the opportunity to command the entirety of the screentime himself in The Guilty, he delivers a turn that is compellingly complex, taking the audience on an emotional roller coaster that results in one of his best performances yet. The Guilty is a remake of the 2018 Danish film of the same name, and it features the same basic premise. Gyllenhaal (who also produces the film) plays Sergeant Bill Miller, a Los Angeles police officer who has been assigned
Read more

365 days to Buhari’s exit: Nigerians decry poor governance

With about 365 days left in the life of the President Muhammadu Buhari-led administration, concerned stakeholders have called on the president to attempt using the remainder of his term to assuage the pains of Nigerians on many fronts due to poor governance. Largely criticised for having failed in government, President Buhari was urged to reverse “abnormal and deviant political practices,” that keep preventing the nation from progressing.   Executive Director, Civil Society Legislative Advocacy Centre (CISLAC), Musa Rafsanjani while assessing governance under the current regime, noted that the administration had fared poorly in terms of the justice system, anti-corruption, economic regeneration and inclusiveness. He noted that despite promises and commitments to combat corruption, graft practices remained a menace crippling socio-economic development, including poor public service delivery, fast-falling educational standard, dilapidating healthcare, bad roads, rising unemployment that
Read more