"Second Take" is an occasional feature that offers another look at current movies.
I've never owned an Elvis Presley album. I've never been to Graceland. I've never cared for his movies. Yet despite all of that, I fully understand the greatness of Elvis Presley. I've always recognized his long-lasting impact on American culture. And you can't help but respect his legions of passionate fans who (though dwindling in numbers) truly love the man dubbed the "King of Rock and Roll." Those things (and curiosity) were big reasons I was excited for "Elvis," the new biographical odyssey from director and co-writer Baz Luhrmann.
For me, the name Luhrmann comes packaged with uncertainty. I've almost always struggled to connect with his style-drenched filmmaking. But with "Elvis" he finds some welcomed middle ground. Luhrmann's style is certainly present, but it never overpowers the film or boils over into overindulgence. Luhrmann shows just enough restraint and as a result, we get a film that brilliantly captures Elvis' outer grandeur but also his inner demons. Call it an exhilarating cinematic portrait of triumph and tragedy.
It can't be easy committing to a performance destined to be heavily scrutinized. But 30-year-old Austin Butler not only takes it on, he gives a star-making turn that makes any qualms with his portrayal feel like nitpicks. It's more than just a spot-on impression. Butler burrows into the very soul of Elvis, highlighting his many ups and later his devastating downs. It's a tough ask for a young actor that's made even tougher by Luhrmann's feverish directing style. But Butler is magnetic.
A TON OF GROUND
"Elvis" attempts to cover a ton of ground in its hefty 159-minute running time. It makes numerous personal and career stops, never staying in one place very long. I'm not sure how much will be new to the well-studied Elvis fan. But for people like me, there's a lot to soak up. It's like fever-pitch CliffsNotes for the Elvis uninitiated.
Interestingly, Luhrmann tells much of the story from the perspective of Elvis' longtime manager and promoter Colonel Tom Parker (Tom Hanks decked in various layers of latex and body suits). The film poses the question: Was Colonel Parker a villain or a visionary? The movie credits him as both.
Parker was a P.T. Barnum wannabe who saw gold in a good-looking young man from Memphis. Elvis drove a truck by day to help support his family. When off work, he spent his time immersing himself in the music of Beale Street. His long-held love for the Blues and Black spirituals would shape his music forever. It was a song young Elvis recorded with Sun Records that would catch the attention of Parker who signed him and took him on his Southern tour headlined by country music artist Hank Snow (David Wenham).
SOMETHING SPECIAL
Things take off in 1954 at the Shreveport-based Louisiana Hayride. That's when Parker knew he had something special. Soon Elvis was his top draw. Parker secured his budding superstar a deal with RCA Records, booked numerous television appearances, and tapped into the lucrative world of merchandising. Before long Parker was raking in 50% of Elvis' earnings, taking advantage of Presley's star wattage for his own personal gain
Luhrmann whips us through Elvis' meteoric rise in popularity while also showing the harsh accusations of indecency and vulgarity he would face (Elvis' connections to Black music in the segregated South is presented as an underlying source of the outrage). It touches on his relatively short-lived tenure as a movie star, his triumphant comeback special in 1968, and his multi-year deal with The International Hotel in Las Vegas.
LOVE FOR MUSIC
On the personal side, Luhrmann does a good job capturing Elvis' closeness with his mother, Gladys (Helen Thomson) and the loving yet businesslike relationship with his father, Vernon (Richard Roxburgh). He shows Elvis falling for and eventually marrying Priscilla Beaulieu (a very good but underutilized Olivia DeJonge). We see his purchase of Graceland and the pride he took in being able to support his family. And of course we see his genuine love for music and performing, which shines most whenever he takes the stage.
But there's also the dark side of Elvis' story. There's the crushing loss of his mother; his disappointment in his father; the revelation of Parker's double-dealing. We see his marriage crumble, watch his health deteriorate and witness his growing reliance on pills. It culminates in a heartbreaking yet undeniably beautiful performance of "Unchained Melody" from 1977, just days before his tragic death at the age of 42.
EVERYTHING CLICKS
While Luhrmann's direction is key, Elvis is most vividly brought to life through Butler. Everything about his performance clicks, from the few quiet moments to the high-energy stage numbers where his resemblance to Elvis really kicks in. Unfortunately, Luhrmann puts too much focus on Parker who is our unreliable narrator and a steady presence throughout. The performance is fine (minus the shaky accent), but all I could see was Tom Hanks in prosthetics rather than Colonel Tom Parker. It had me wishing for more Butler.
At times Luhrmann's kinetic pacing can make things a blur. And he doesn't allow you to settle down and get comfortable during any stop he makes on the Elvis Presley timeline. Normally that's something I would struggle with. But here it feels right, especially for such an electrifying roller-coaster life. To Luhrmann's credit, his film had its hooks in me from the start. And even though I'm not a big-time Elvis fan, this movie brought him to life in ways I wasn't expecting. Now if you'll excuse me, I'm off to plan a trip to Graceland.