Baz Luhrmann’s 'Elvis' is flashy, noisy, and ceaselessly moving, but it adds little to our understanding of an icon. Read the full review:
—have a sense of order to their physics. Their cameras seem to move in intentional rhythm, soaring and swirling on rails only visible to their creator. Butyanks and jerks and rattles all over the place, looking for shape and purpose in every direction and finding little of it.
The film settles down some toward the end, when Luhrmann actually lets us sit with a scene and attempt to absorb it. Much of the film’s runtime, though, is exhausting and irksome. Beyond-the-grave narration from Elvis’s shifty Svengali, Colonel Tom Parker , is meant to offer some narrative guidance—but his mutterings jump around erratically, eliding over foundational parts of Presley’s life in favor of wan observations about the singer’s burgeoning fame.
That’s an error, especially given that Butler is straining so hard to give us a full show. The musical performances are, as expected, the highlights of the film, particularly a scene at the Louisiana Hayride during which a theater full of young women have a collective sexual awakening.is successful on that front: we really do feel the ardent rumblings of all these girls as they see before them something that seems to click the last puzzle piece into place.
If only we learned more about the mind and heart from which that ecstatic revelation was emanating. It is the film’s bitterest irony that a story about a man controlled by a domineering force seems itself unwilling to give its subject true autonomy, lest that distract from its director’s aesthetic interests.presents the spectacular, but has little to say when the lights are off and it’s just the man, grasping to find purchase in the making of his own legacy.
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