Elvis

2022.

Dir. by Baz Luhrmann

Creating a spectacle is nothing new for Baz Luhrmann – I’m sure that statement needs little explanation. In this regard, the life of Elvis provides the perfect prompt for Luhrmann to explore, which he navigates through a cacophony of music and montage.

Elvis follows the life of its namesake (played by Austin Butler) throughout his career while paying special attention to his relationship with his manager Colonel Tom Parker (Tom Hanks). It bursts forth from the screen with little hesitation from the beginning frame – there is no time for credits. Luhrmann brings us head-first into the jarringly fast pace that he (attempts to) maintain for the whole film, as Las Vegas’ dizzying aura accompanies Colonel Tom Parker’s opening monologue about his relationship with Elvis.

The film is at its peak when these dazzling montages spread across the screen; sometimes multiple images are layered on top of one another, sometimes spliced into subsections of the screen, and sometimes a mix of the two. The music and images meld into an overstimulating – and thoroughly enjoyable – montage of Elvis performing. As the film opened, I hoped that the film could keep up its overwhelming pace throughout its entirety, and it almost does. Elvis falters when the fast-paced and jarring editing meets the slowed and intimate passages. It no longer melds together, but instead pulls the film apart, as the characters flash back and forth through quick cuts. This becomes particularly noticeable towards the latter half of the film; the intense sequences become more and more separated, as the intimate takes center stage and the film’s style fails to transition with the narrative. Yet for the majority, Luhrmann’s style captures the electric feeling that certainly emanated from any stage Elvis occupied.

Austin Butler shines in his role as Elvis, his body language is electric – enough so to greatly overshadow any clumsy deliveries during the more intimate moments. However, Tom Hanks provides an exceptionally middling performance, with a bizarre accent that leaves little room for emotional expression, and thus an exceptionally flat character. Yet this does not distract from the energy that emanates from the remainder of the cast, and should not be overstated in that regard.

The final moments of the film are magical; a pure depiction of Luhrmann’s adoration for Elvis. Real footage of Elvis’ last performance lingers on the screen – there is no fast cutting, no distractions, just his performance. It leaves you with a wonderful feeling as you leave the cinema – yet this feeling did not last for the entire film, and should not be misinterpreted as making up for the dragging latter half.

Although this is a somewhat short review, I feel that there is nothing more to say about the film. For large swaths of time, it is pure enjoyment – especially if you love Elvis’ music – but for significant periods it falters to a middling and mis-cut drama. It is pure spectacle, with little substance, but when it peaks – with six layers of footage playing simultaneously while blaring music – it is a spectacle that should not be missed.