The long-awaited Elvis biopic is here - but is it any good?
from his deathbed, following a collapse in 1997. As morphine drips ominously into his wrinkly arm, Parker flashes back to the earliest days of his relationship with his most famous client. As the story progresses, Parker repeatedly pleads his innocence in any role in the great star’s premature death at the age of 42.
There are many ways Hanks could have approached this role. The route he chose was to play Col. Parker as a James Bond villain, complete with outlandish yet implacable foreign accent, corpulent face, garish clothes and cane, and even a headquarters high atop the Las Vegas strip. All that’s missing is a cat to stroke as he fiendishly plots to keep Elvis from hiring a better manager or finally undertaking the international tour he spends years trying to get off the ground.
Elvis himself fares better, if only because Butler is so thoroughly compelling at every step along his journey. He’s uncannily good at channeling Presley’s electric charisma on stage, and is never better than when Luhrmann sits back and lets Butler perform. His recreations of the ’68 Comeback Special and Elvis’ Las Vegas debut are thrilling. If Butler’s acting career ever fizzles out, he could surely make a very good living as Vegas’ best Elvis impersonator.
The whole film is like that. Luhrmann, who loves to luxuriate in images of over-the-top opulence, clearly adores Elvis’ music and fashion sense, and he credits him and his irrepressible dance moves with awakening America’s latent sexuality in the middle of the 20th century. Another long chunk of the film chronicles Presley’s reaction to the threat of arrest if he can’t keep from thrusting his pelvis on stage.
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