Name: Elvis
Genre: Music, History, Drama
Released: 2022-06-22T00:00:00+00:00
Cast: Austin Butler, Tom Hanks, Olivia DeJonge, Helen Thomson, Richard Roxburgh

The opening scene of Baz Luhrmann’s Elvis is a sensory overload: a dizzying montage of concert footage, archival clips, and Austin Butler’s electrifying performance as the King himself. The camera whips through crowd shots, close-ups of sweating bodies, and bursts of neon light, all set to a pulsing, genre-mashing beat. It’s an audacious introduction, one that immediately signals Luhrmann’s intent—to capture Elvis Presley not just as a man, but as a cultural earthquake. The film doesn’t just retell Presley’s life; it tries to relive his energy, his contradictions, and the explosive impact he had on music and society.

Luhrmann, the director behind Moulin Rouge! and The Great Gatsby, is no stranger to excess, and Elvis is no exception. The film unfolds through the lens of Colonel Tom Parker (Tom Hanks), Presley’s manager and the man who both elevated and exploited his career. This framing device allows Luhrmann to play with structure, cutting between Parker’s present-day reflections and the chaotic whirlwind of Elvis’ rise to fame. It’s a bold choice, but one that sometimes feels gimmicky, as if the film is trying too hard to justify its existence as a biopic rather than a straightforward retelling.

What saves Elvis from collapsing under its own weight is Austin Butler’s performance. He doesn’t just mimic Presley; he embodies him. From the way he moves—hips swaying, shoulders rolling—to the way he speaks, Butler captures the essence of Elvis with an uncanny precision. The film’s standout moments are the ones where Butler gets to shine: his explosive performances on stage, his quiet vulnerability in private, and his volatile relationships with those closest to him. In one particularly powerful scene, Butler channels Presley’s raw emotion during a live performance of “Heartbreak Hotel,” his voice cracking with desperation. It’s a moment that reminds us why Elvis was so much more than just a pop star—he was a force of nature.

Tom Hanks, meanwhile, delivers one of his most compelling performances in years as Colonel Tom Parker. Playing the role with a Dutch accent and a greasy charm, Hanks transforms Parker from a mere manager into a morally ambiguous figure, equal parts Svengali and villain. His performance is nuanced, never tipping over into caricature, even when the film’s narrative structure threatens to reduce him to little more than a narrator.

The supporting cast is equally strong. Olivia DeJonge as Priscilla Presley brings depth to a role that could have easily been reduced to a footnote in Elvis’ life story. Her performance is subtle but powerful, capturing Priscilla’s quiet strength and the complexity of her relationship with Elvis. Helen Thomson as Gladys Presley, Elvis’ mother, delivers a heartbreaking portrayal of a woman torn between love for her son and desperation to see him succeed.

Luhrmann’s direction is, as expected, visually stunning. The film is a feast for the eyes, with dazzling montages, rapid-fire editing, and a pulsating soundtrack that blends classic hits with modern beats. The cinematography is equally impressive, using bold colors and dynamic camera movements to create a sense of urgency and energy. However, Luhrmann’s signature style can sometimes feel overbearing. The film’s pacing is uneven, rushing through key moments in Elvis’ life—like his military service and Hollywood years—with little nuance. Some of Presley’s most iconic moments, like his historic Aloha from Hawaii concert, are reduced to quick cuts rather than fully realized set pieces.

The film also struggles with its tonal whiplash. Luhrmann attempts to balance Elvis’ cultural impact—the revolutionary fusion of Black and white music—with a more intimate character study, but the seams show. The deeper themes of race and exploitation are compelling but underdeveloped, buried beneath the flash. In one scene, Elvis is shown performing in front of a segregated audience, his music bridging the divide between Black and white fans. It’s a powerful moment, but the film never fully explores the implications of this cultural shift, leaving it feeling like little more than window dressing.

Where Elvis truly excels is in its portrayal of Presley’s relationship with his manager. The film frames Parker as a manipulative figure, using Elvis’ talent for his own gain. This dynamic is explored through a series of tense confrontations between the two men, culminating in a powerful scene where Parker coldly calculates the financial impact of Elvis’ death. It’s a chilling moment that underscores the film’s central theme: the cost of fame and the exploitation of artistic genius.

The soundtrack, too, is a highlight. Luhrmann wisely avoids overloading the film with too many classic hits, instead using Presley’s music strategically to underscore key moments. The result is a soundtrack that feels fresh and exciting, even for those familiar with Elvis’ discography. Standout tracks include “Jailhouse Rock,” which accompanies a visually stunning sequence set in a prison, and “Suspicious Minds,” which plays over a montage of Elvis’ later years.

However, the film’s biggest misstep is its handling of Presley’s later years. The final act rushes through his decline, reducing complex issues like substance abuse and mental health to quick cuts and vague allusions. It’s a disappointing choice, particularly given the film’s strengths in exploring Elvis’ early career. The decision to frame the story through Parker’s perspective also feels like a missed opportunity. While Hanks’ performance is strong, the narrative structure ultimately serves to distance us from Elvis himself, reducing him to little more than a pawn in Parker’s game.

In the end, Elvis is a film that dazzles in fits and starts. It’s visually stunning, emotionally resonant at times, and carried by standout performances. But it’s also uneven, struggling to balance its ambition with its execution. Luhrmann’s direction is both the film’s greatest strength and its biggest weakness—his signature style elevates certain moments but undermines others.

Elvis is a film for fans of Baz Luhrmann’s hyperkinetic storytelling and those eager to see Austin Butler’s transformative performance. But it’s also a film that demands patience, as it rushes through key moments in Presley’s life with little nuance. For casual viewers, the film’s uneven pacing and tonal whiplash may prove frustrating.