Baz Luhrmann's Elvis is a spectacle that keeps us watching, but it doesn't nail the singer's inner life until he's caught in a trap.
, with the exception of the Beatles, is the most mythological figure in the history of popular music. That makes him a singularly tempting figure to build a biopic around. But it also makes telling his story a unique challenge. Everything about Elvis is so deeply etched in our imaginations that when you make a dramatic feature film out of Elvis Presley’s life, you’re not just channeling the mythology — you’re competing with it.
Luhrmann has always had the fearlessness of his own flamboyance, and from the first moments of “Elvis,” which take off from an outrageous bejeweled version of the Warner Bros. logo, the film lets us know that it’s going to risk vulgarity to touch the essence of the Elvis saga.
And what “Elvis” never quite shows us, at least not until its superior second half, is what was going on inside Elvis Presley. For a while, the film plays like a graphic novel on amphetamines, skittering over the Elvis iconography but remaining playfully detached from his soul. Instead, it filters his story through the point-of-view of his Mephistophelean manager Svengali, Col.
The movie shows us how Elvis’s career, after its volcano eruption in the mid-’50s, became a series of defeats and escapes. To calm the controversies that Elvis first inspired, the Colonel repackages him as “the new Elvis” , which only makes Elvis miserable. To further defuse the attacks upon him, Parker, in 1958, encourages Elvis to go into the Army as a way to clean up his image.
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