‘Luhrman’s Flashy Fashion Show’

Reel Reviews
Dylan Marsh
Unhinged, horny, and shallow, Elvis’ glitz and glam can’t seem to get out of its own way. Baz Luhurman’s newest picture is unapologetically a Baz Luhrman picture. Elvis(Austin Butler), Luhrmans first movie since 2013, is a musical biopic about famed rock-and-roll singer turned Las Vegas act, Elvis Presley.

The movie’s narrative, much like the narrative of Presley’s real life, is controlled by Colonel Tom Parker(Tom Hanks). Hanks narrates the movie, and acts as a guiding beacon of the plot, in scenes of Hanks in grotesque prosthetics gambling that hide any semblance of Hanks subtlety. Colonel Tom Parker is a proud grifter who takes Elvis Presley under his wing and signs him on under his management. What is it that Parker is interested in? Well the same thing Lurhman seems to be interested in, Presley’s pelvis.

Lurhman’s movie seems to posit that Presley’s gyrations and “wiggling” is the reason for Elvis’ long lasting stardom. Not only is Elvis much more than his patented wiggling, so too is Austin Butler, who gives a very honest performance. If only Luhrman’s flashy extravaganza would give him enough time to do so.

Ultimately the film sits on the surface, which if that’s what you want from your garish, brightly colored Lurhamn movies then that’s fine. It is written and directed, however, in the fashion of a child who didn’t do the research for his Elvis project.

The film attempts to acknowledge race relations, toxic relationships, and drug addiction, but falls short of simply acknowledging them. In one scene, a racist politician damns rock music in front of Confederate flags, as we intercut scenes of Elvis singing rock-and-roll. Painting him as the opposition rather than a white man making money playing black music.

The movie is kind enough to consider the black musicians that Elvis cribbed from. Less so rock-and-roll luminaries, and more of inspriations for Elvis the movie features the characters of B.B King, Little Richard and Rosetta Thorpe in scenes at honkey.

We don’t ever get to know Elvis, and as a biopic, the director and screenwriter should bring us closer to the previously unknowable. However, in this movie we see a seemingly well adjusted man who just wants to play the kind of music that makes him happy. We do see Colonel Tom Parker seem to believe what he sells, which isn’t just Elvis pillows and tchotchkes but also the idea that Elvis needs him.

The film seems to be too scared to acknowledge Presley’s voracious appetite for women and drugs. Women scream for Elvis and he seems to never take it seriously. Not until the end of the movie does Elvis begin to really take the drugs that would be his demise. The notorious Memphis Mafia are nothing more than a rag-tag group of pals. Less a biopic of a complex and dark figure of pop culture, and more of a jumping off point for Luhrman’s flashy fashion show.