In “Elvis” the viewer truly feels the jolt of electricity that Presley sent through audiences—and through society, culture and the world—when he stood up to sing, play and gyrate
of his fame, Elvis Presley was perhaps the most recognisable individual on the planet. Just as you may conjure Charlie Chaplin in your mind’s eye using only a bowler hat, a toothbrush moustache and a cane, it is easy to picture Presley with no more than a quiff, a curled lip and a high collar. He remains sufficiently alive in the cultural memory to be a mononym: nobody ever asks, “Elvis, who?” Yet Presley has faded from the forefront of the world’s collective consciousness.
Presley may be the bestselling solo artist of all time, but that feat leans heavily on the physical-format era. He ranks only 24th on Spotify’s streaming chart of legacy artists, behind other departed acts including Nirvana, 2Pac and Led Zeppelin. What is more telling is how relatively little he is seen. In the 1990s he was, in that overused and misapplied word, iconic: an object of what amounted to religious worship.
“Elvis” is three different films brought together into a whole that, while unwieldy, is spectacular to look at and not for a moment boring One part is an exploration of the relationship between Presley and his manager, Colonel Tom Parker. Parker was a former carnival worker who used every bit of that job’s manipulative tradecraft to promote and exploit Presley. In a delicious turn by Tom Hanks, Parker is a melodrama villain and an unreliable narrator.
But it is here, with the music, that “Elvis” finds its triumphant third aspect: as a hyper-real concert movie. Mr Luhrmann has long excelled at extravagant performance set pieces and in “Elvis” the viewer truly feels the jolt of electricity that Presley sent through audiences—and through society, culture and the world—when he stood up to sing, play and gyrate.
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