“That was the innovation for the film, and for cinema,” continued the filmmaker whose career shot to fame at Cannes with Strictly Ballroom in 1992. “Cannes has ...
“He was running away from an aspect of his past,” added Hanks on Parker, who moved from a small town in Holland to American, taking on a whole new alias. After showing the film to Priscilla Presley, he received a note from her in which she said, “‘I just wasn’t ready for that. “He was a father, he was a husband, and a grandfather and a person, and they have children,” the filmmaker added, “The greatest review I got from them in my life; now there’s something they can look to that is the truth of the humanity of the man.”
Luhrmann and his co-writers Sam Bromell and Craig Pearce use the story of Elvis' supremely crooked manager, Colonel Tom Parker (Tom Hanks, lurking beneath ...
For a few confusing moments, the real Elvis is no longer a ghost—he has returned to us, an actor playing himself, and we see that as good as that Butler kid was, there’s no comparison to the real thing. The only consolation is that when a person is no longer a person, he is at last free to become a dream. In the final moments of Elvis, Luhrmann returns his beloved subject to that world, like a fisherman freeing his catch. In Elvis, when Butler sings, it’s Elvis’ voice that streams out, in lustrous ribbons of recklessness, of ardor, of hope for the future. I’m dying to see it!” to “I can’t even look at that thing,” to “What accent, exactly, is Tom Hanks trying to achieve?” (The movie, incidentally, explains the unidentifiable diction of this man without a country, and probably without a soul.) In the movie’s last moments, Luhrmann recreates one of the saddest Elvis remnants, a live performance of “Unchained Melody” from June of 1977, just two months before his death. We see him succumbing to the dangerous manipulations of Colonel Parker, and later kicking against them, most notably as he mounts his 1968 comeback special. Though Elvis more or less follows the facts as we know them, there are moments of invention that are piercing. Luhrmann and his co-writers Sam Bromell and Craig Pearce use the story of Elvis’ supremely crooked manager, Colonel Tom Parker (Tom Hanks, lurking beneath prosthetic jowls), to frame the larger, more glorious and more tragic story of Elvis. Though he was born in Tupelo, Mississippi—his identical twin, Jesse Garon, died at birth— Elvis grew up poor in Memphis, adoring and being adored by his mother, Gladys (Helen Thomson). Luhrmann shows us Elvis as a preadolescent, splitting his time between a juke joint and a revival tent down the road. And in a world where there’s always, supposedly, a constant stream of new things to love, or at least to binge-watch, love of Elvis—our American pauper king with a cloth-of-gold voice—feels like a truly pure thing. The girls, and most of the boys, too, go nuts. Doubtful. But isn’t it exactly what you want to see in a movie? Baz Luhrmann’s movies—even the great ones, like his 1996 Shakespeare-via-Tiger Beat romance Romeo + Juliet, or The Great Gatsby, from 2013, a fringed shimmy of decadence and loneliness—are loathed by many for what they see as the director’s garishness, his adoration of spectacle, his penchant for headache-inducing, mincemeat-and-glitter editing.
Baz Luhrmann's over-the-top biopic "Elvis" draws mixed to negative reviews after its premiere this week at Cannes Film Festival.
"I could feel how much work Baz and Austin put into trying to get it right," said Keough, who is at Cannes with her own movie and directorial debut, "War Pony," a story about Lakota Indians that she co-wrote and produced. Constructed mostly from performance footage and vintage clips, the film eschews the "talking heads" commentary typical of most music documentaries and reportedly focuses on the music rather than digging into the controversial aspects of Lewis' offstage life. According to The Times of London, the result features "dizzying" amounts of archival material "but is otherwise devoid of argument or even curiosity." There’s a lot of family trauma and generational trauma that started around then for our family.” "The story, as we all know, does not have a happy ending. "He would have absolutely loved it as well... Owen Gleiberman in Variety writes that Luhrmann has delivered "a fizzy, delirious, impishly energized, compulsively watchable 2-hour-and-39-minute fever dream — a spangly pinwheel of a movie." "Let me tell you that it is nothing short of spectacular. "I've seen Baz Luhrmann's movie 'Elvis' twice now," Lisa Marie wrote. Most reviews after the Cannes premiere were mixed-trending-toward-positive, with Butler generally receiving praise for his "star-making" (Vanity Fair) performance. Austin Butler channeled and embodied my father’s heart & soul beautifully." "Deliriously Awful Biopic Is ‘Bohemian Rhapsody’ at 4,000 M.P.H.," is the headline on David Ehrlich's review on the IndieWire website.
Elvis Presley's daughter, granddaughter, and ex wife are praising the new Baz Luhrmann movie, “Elvis,” movie very publicly. I'm sure they really love it, ...
Graceland was closed for two months in 2020, and is only operating at limited capacity because of the pandemic. A new generation has not been forthcoming, a la the Beatles or Rolling Stones. Elvis is thought of as a 50s act, or a Vegas performer. According to Music Connect,yeat to date sales of all Elvis records including streaming comes to just 1.4 million. Elvis record sales are in the toilet. The whole world of Elvis, once a financial powerhouse, needs a supercharge to get it going again. Elvis Presley’s daughter, granddaughter, and ex wife are praising the new Baz Luhrmann movie, “Elvis,” movie very publicly.
This week, the second Baz Luhrmann trailer for the new Elvis movie dropped to much fanfare. In addition to giving fans a glimpse into Austin Butler's ...
Thank you [Baz] for setting the record straight in such a deeply profound and artistic way." Great news: the full lineup for the Elvis soundtrack has already been revealed. This week, the second Baz Luhrmann trailer for the new Elvis movie dropped to much fanfare. Elvis is a biographical musical film directed by Baz, of Moulin Rouge! and The Great Gatsby fame. In the clip, fans are treated to Austin's dancing on stage while a voiceover says, "Our country itself is sick and it's lost its sense of direction, even its common decency." Priscilla, who was Elvis' ex-wife by the time he passed, told her Instagram followers earlier this month that she had already watched the film "over a dozen times."
It is fitting that maximalist filmmaker Baz Luhrman is making his return to theaters after almost a decade with a movie about one of the most maximalist ...
Indeed, What makes "Elvis" different than many musical biopics is that there is no promise of a comeback after the inevitable fall of the star, no return to the stage after rehab. But the best decision Luhrmann makes is to use the film's editing to reflect Elvis' love of comic books. This is a rather odd choice, not because the idea of an Elvis movie framed from the villain of the story is an inherently bad idea, but because the film can't fully decide if Parker is truly a villain or not. Rather than Elvis having to think about his entire life before playing on stage, the movie starts with a dying Colonel telling the story of his relationship with Elvis and the many "misconceptions" about their work and life. When he first hears Elvis on the radio, Parker laments that no white audience will accept his carnival act if it has a Black performer, then the camera pulls a dramatic Spielberg-like zoom on Kodi Smit-McPhee's face as he says that Elvis is white actually. It is fitting that maximalist filmmaker Baz Luhrman is making his return to theaters after almost a decade with a movie about one of the most maximalist performers in American history.
Priscilla Presley, 77, was left teary-eyed after the forthcoming biopic Elvis received a 12-minute standing ovation at Cannes Festival, which is the most ...
Austin captured that so beautifully,” she said. Halfway through the film, Jerry and I looked at each other and said WOW!!! Bravo to him…he knew he had big shoes to fill,” she wrote. Austin Butler, who played Elvis, is outstanding.
Tom Hanks and Austin Butler star in Baz Luhrmann's stylishly unthrottled, loudly charismatic look at the life and fame Elvis Presley.
They’re both just props in a showbiz wonderland, Elvis’ position at the dawn of fandom-driven mania the clear draw of the material for Luhrmann. Raw, gyrating machismo turned Elvis into a god with the power to bring teenyboppers to instantaneous orgasm with a swing of the hips. There’s enough in here to push the first hour or so into enjoyably bad territory, from the utterance of the line “I’m sorry, Miss Jackson” to the recurring appearance of an unscrupulous “Dr. Nick” surely the namesake of the resident quack on “The Simpsons.” That still leaves so much movie and so little to recommend it, as thinly sketched personalities collide within a predictable template. These elements may be present, and yet they’re hustled along in the same manner as we speed by his marriage, the death of his mother, and his career in Hollywood. The details of biography aren’t of too much interest to Luhrmann, which almost works in his favor, as the relentless formlessness of the plot moves too quickly to lapse into “Dewey Cox” cliché, the “wrong kid died” and “you don’t want no part of this, Elvis!” tropes whizzing by at a zippy BPM. Ideas aren’t really the filmmaker’s bag either, aside from the notion that Elvis (Austin Butler, illustrating that a good impression does not equate to good acting) was the first-ever white person to give a damn about African-Americans and their heritage, which is to say he brought the concept of cool into the Caucasian-dominated mainstream.
Following an impressive 12-minute standing ovation at the Cannes Film Festival, the cast and crew of Baz Luhrmann's movie musical epic Elvis—alongside a ...
Meanwhile, as the night played on, the former partner of Elvis himself, Priscilla Presley, slipped inconspicuously through the crowd. On the Palais Stephanie beach, a maximalist music venue that resembled something from Luhrmann's imagination was created from scratch. All three artists, he pointed out, have ties to Presley's famous hometown, Tupelo,