The movie “Elvis” by Baz Luhrmann is a delightful and insane scene – Yalla Match

Baz Luhrmann movies – even great movies, like 1996’s Shakespeare viatier won romantic romeo + Juliet or The Great Gatsby, From 2013, a flicker of decadence and loneliness – hated by many for what they see as the director’s excitement, his love of scenery, and his penchant for headache-inducing editing and mince and glamor. But in 2022, in a culture where long-running storytelling is booming, Luhrmann’s dedication to two-and-a-half-hour overloads is old-fashioned, like pieces exploding from a cannon at a district exchange. It’s true that his movies do not always work, or they rarely work all the time, which is definitely the case. Elvis An embroidered jumpsuit from the biopic that takes place out of competition at the 75th Cannes Film Festival. Sometimes it’s barely a movie – the first hour or so is extraordinarily fragmented and frenetic, as if Luhrmann is traveling through a 3D version of Elvis Presley’s life, immersing himself in important events with little time to discuss. But through all the overeating, one truth comes through: Luhrmann loves Elvis very much and it hurts him. And in a world where there is always, supposedly, a constant flow of new things to love, or at least to watch, the love of Elvis – our poor American king with a voice of golden cloth – sounds like something really pure.

Luhrmann and co-authors Sam Brommel and Craig Pearce used the story of Elvis ‘highly cunning director, Colonel Tom Parker (Tom Hanks, hiding under industrial strings) to frame Elvis’ greatest, grotesque and most tragic story. Although he was born in Tupelo, Mississippi — his identical twin, Jesse Garron, died at birth — Elvis grew up poor in Memphis, and was worshiped and adored by his mother, Gladys (Helen Thompson). Luhrmann shows us Elvis as a pre-teen, splitting his time between a jock joint and a revival tent on the road. (He was too young to get in first, he could only look through a crack in the wall, and entrance through the black blues men performing inside.) These are the two poles of young Elvis’ life, the basis for everything that came next, and Luhrmann connects them in One-shot hard mode: in Elvis The world, the gospel and the blues are literally connected by one dirt road. This little version of Elvis goes back and forth freely, drinking deeply from one well before moving on to the other, and back again.

His rise happens fast, and before you know it, he’s become the Elvis we know, or the person we think we know: played by Austin Butler, who goes beyond just repeating Elvis’ distinctive movements (though he’s cool with it); He seems to be trying hard to conjure up some fake fingerprints. For much of the film, Elvis Butler does not have many lines: we see him jump out of the truck he drives for a living in his pre-fame years and walk down Memphis Street, swinging a guitar in one and ‘ a lunch box in the other. Did the real Elvis really do that? Doubtful. But is that not exactly what you want to see in the movie?

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Not long after, we earned Elvis a stage performance at the Louisiana Hayride, and Sam Phillips at Sun Studios – who specializes in “race recordings,” music made by black artists – seized the opportunity before him on the orders of his assistant, Marion Kisker, who hears something in the child. Elvis breaks a record. He then shakes on stage in a loose-fitting pink jumpsuit, hiding his stretchy material more than revealing, but still seeing the secrets inside. Girls, and most boys too, go crazy.

Butler calls out the eloquence of Elvis’ face, his loosely chiseled cheekbones and the look in his eyes that says, “I’m ready for anything, right?” He and Luhrmann jump through major events in Presley’s life, and sometimes go for long periods without breathing. Elvis stressful, messy; It’s so cheerful, misty crazy that you can not look away from it. (Catherine Martin’s costume design and production is, as always, perfect — perfect time, but also full of imagination.) We see Elvis shopping at the beloved Lansky Brothers, as one of his favorite musicians, BB King (Kelvin Harrison Jr.) shops there. We see him succumb to the dangerous manipulations of Colonel Parker and attack them later, especially as he made his own return in 1968. (He was supposed to wear a flashy Christmas jacket and “Santa Claus is coming to town,” and he did not become a legend in a black leather suit, and you know, it would be hot to wear just close enough become.)

But as we know, Elvis lost that fight. Colonel Parker sends a deceiver known as Doctor Nick to pump him full of drugs, to keep him head above water even when he loses his head. The tragedy is escalating. Does Luhrmann show us the real Elvis, or does he embroider the Elvis that already lives in our imagination? The answer seems to be that Luhrmann sees equal value in facts and myth. although Elvis To some extent following the facts as we know them, there are moments of miraculous inventions. When Elvis’ long-suffering wife Priscilla (played by Olivia Dejung) finally leaves him, he rushes after her, rushing down the stairs at Graceland in a pair of pants and a purple robe, a psychedelic mess. She can no longer stand it. She has to leave, and she takes little Lisa Marie with her. Elvis stands barefoot and begs her not to go. And when he realizes he can not stop her, he says, more in defeat than in hope, “When you’re 40 and I’m 50, we’ll be together again – you’ll see.” Even though Elvis had never uttered that rule, his card of romantic longing had long been written in his voice. by Elvis When Butler sings, it is Elvis’ voice that flows, in bright streaks of recklessness, fervor and hope for the future. This voice is a repository of all the joy and misery that life can carry.

Read more: Elvis will always be: Remember the ‘King’ after 40 years

When the trailer for Elvis It was released a few months ago and reactions on social media, and among people I know, ranged from “It looks messy! I can not wait to see him! To ‘I can not even look at this thing ‘, after’ Which dialect, exactly, is Tom Hanks trying to achieve? ‘ (The film incidentally explains the anonymous cast of this man without a homeland, and perhaps a soul.) In the film’s last moments, Luhrmann recreates one of Elvis’ saddest remnants, a live performance of “Unchained Melody” from June. 1977, just two months before his death, Butler, his face inflated with prosthetics, sits at a grand piano filled with Coca-Cola glasses and a discarded cheesecloth or two. ruined looks stream — but as we watch, Luhrmann pulls out a Sophie key, and footage of the real Elvis replaces a butler-like Elvis as the cute Elvis we’ve been looking at. For a few staggering moments, the real Elvis is no more not a ghost – he’s back with us, an actor playing him, and we see that despite the quality of a butler kid, there’s no comparison to the real thing.

But the feeling of relief fades. Elvis has been gone for over 40 years now, he is Ghost, no matter how excited Luhrmann and Butler tried to reform his outer particle. The only consolation is that when a person is not a person, they are finally free to become a dream. In the last moments of Elvis Luhrmann brings his beloved subject back to that world, like a hunter releasing his catch. “Lonely Rivers Flow / To the Sea, to the Sea,” the song tells us as the true Elvis swims back to his safe home — he is better off than a dream, perhaps safe from anyone who may hurt or use him . But for a few hours there, he seemed to be walking between us again, a face no one would believe if we tried to tell them. But we saw it. We really have. Then he slipped away, tired of being asked by us, if there was not enough of our love.

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