At the Cannes Film Festival, where it was presented out of competition, Elvis was extolled by some, condemned to loathing by others. Masterpiece or turnip? The truth obviously lies between these two poles. The new opus from Baz Luhrmann, a filmmaker known for his flamboyant approach to directing, is undeniably spectacular.
Posted at 8:00 a.m.
The credits related to the writing of the scenario and the way in which they are formulated in the credits, however, suggest a more laborious work in this chapter. By dint of wanting to tell everything in a little over two and a half hours, the director of red Mill necessarily had to cut corners. Luhrmann also recently revealed the existence of a four-hour version of his new film, which he may offer one day.
The main idea of telling the life of Elvis Presley through that of his impresario is obviously interesting, especially since, when we meet him at the end of his life, Colonel Parker immediately affirms that he is the villain of the story. By inventing a new way of practicing his profession, by exploiting the exceptional talent of his foal to his advantage, the old man carries within himself a part of Shakespearean character. Too bad the performance of Tom Hanks, who plays for one of the first times in his career an unfriendly guy, is practically annihilated by an improbable accent and too many prostheses.
A more convincing first part
The tumultuous relationship between the artist and Colonel Parker thus remains on the surface, but the interest lies elsewhere. It lies in this attraction that this white child, from a modest family in Mississippi, first has for a gospel culture that puts him in a trance. It is in this shy young man who discovers the influence he can have over a crowd as soon as he sets foot on a stage. It is also in this way of embracing Afro-American music and honoring it at a time when we did not yet see the day when the Deep South would no longer be segregationist. On this level, the first part of the story is more convincing than the second, devoted to the dark years, much too hasty.
True to his flashy style, Baz Luhrmann has a field day visually. The sequences recreating the stage performances of the icon are downright electrifying. Visibly inhabited, Austin Butler slips into the skin of the King with constant devotion, reflecting both his exceptional presence on stage, his sex appealbut also its deep vulnerability.
PHOTO PROVIDED BY WARNER BROS. PICTURES
Austin Butler in Elvisa film directed by Baz Luhrmann
That said, Elvis suffers from the same pitfalls as most celebrity biographical dramas of recent years, where the performances of the actors playing them have often transcended the more ordinary ensemble quality of the film intended to showcase them. It was true for Respect (Jennifer Hudson as Aretha Franklin), Judy (Renée Zellweger as Judy Garland), The United States vs. Billie Holiday (Andra Day as Billie Holiday), Bohemian Rhapsody (Rami Malek as Freddie Mercury), Rocketman (Taron Egerton as Elton John); this is also the case for Austin Butler in Elvis Presley.
Elvis will certainly not be the definitive biographical work on the interpreter of Heartbreak Hotel. Die-hard fans will learn absolutely nothing new and may even get a little lost. But this feature film functions on the basis of pure entertainment, a little as if the spectator were drawn into a big carousel ride. We come out a little dazed.
Elvis is playing in the original version, in the French version, as well as in the original version with French subtitles.
Biographical drama
Elvis
Baz Luhrmann
Starring Austin Butler, Tom Hanks, Olivia DeJonge
2:39
Indoors