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Baz’s Elvis Lives and Breathes<\/h2>\n\n\n\n
Every Baz Luhrmann film is a unique experience and his new film Elvis is no exception. I know the editing process is incredibly involved, especially after watching the film four times, but it’s clearly worth all the time and effort. There are so many transitions, split screens, camera angles, and visual effects throughout the film. Elvis is a story with a true heartbeat with the soundtrack as its rhythmic beat.<\/p>\n\n\n\n
The fade ins and fade outs at the beginning of the film don’t always work for me, but the ones based on movement such as the image of a vinyl spinning into the next shot keep the rhythm of the film moving along. Likewise, I\u2019m not sold on every split screen, but there is a storytelling purpose to some.<\/p>\n\n\n\n
Luhrmann\u2019s films always have an iconic wardrobe. This is thanks to his constant collaborator and wife, Catherine Martin, a dedicated designer based in passion and research. The results of this collaboration is seen clearly in each of his movies\u2019 production, costume, and set designs. <\/p>\n\n\n\n
Catherine Martin is a Visionary<\/h2>\n\n\n\n
Martin, like Luhrmann himself, allowed herself leeway for artistic interpretation of the costume design. She partnered with both Prada and Miu Miu<\/a> to design the costumes for Olivia De Jong\u2019s Priscilla Presley. This is what I always love about Luhrmann\u2019s films. They don\u2019t restrict themselves to the most accurate representation of costume designs. I am fully able to comprehend how Priscilla Presley was considered a style icon because her costume designs are fresh.<\/p>\n\n\n\n There\u2019s a shot about midway through the film with Elvis and Priscilla sitting together in the bedroom area of his trailer on a Hollywood film lot. The background is a vibrant red which is a staple piece color for most of his films. Priscilla wears a gorgeous deep sky blue top with matching pants. The contrast between the two colors is incredibly striking. You absolutely cannot look away from the scene. <\/p>\n\n\n\n In the last third of the film, the conflict between Elvis and the colonel comes to a climax when Elvis fires him. It doesn’t take long before an encounter between them has the Colonel\u2019s tactics of emotional and monetary manipulation sinking their teeth back into Elvis. Elvis returns to his suite broken and ready to be reined back in. As he closes the curtains on his suite, bathing his room in darkness, he says to his father, \u201ctell the Colonel I want things to go back to the way they were.\u201d He then climbs onto the semi-circle couch facing a row of television sets.<\/p>\n\n\n\n Elvis\u2019 Vegas suite is \u201cdesigned to look like a golden cage and sarcophagus with a very specific view of Las Vegas<\/a>,\u201d<\/a> according to a recent Vogue article. To me, as Elvis closes the curtains on his view of Vegas, he is closing himself off from the illusion of freedom. When he settles into the couch, it feels as if he has climbed back onto the perch of his cage. The script, emotion from the actors, and set design work in sync particularly well in this scene.<\/p>\n\n\n\n The film as a whole served me moments of awestruck wonder over all its details. They add up to a world entirely constructed but feels incredibly real despite the grandiosity typical of Luhrmann\u2019s directorial style.<\/p>\n\n\n\n Another pair of Oscars might be heading their way towards Catherine Martin for her design efforts. She previously won two Oscars for both Moulin Rouge (2001) and The Great Gatsby (2013).<\/p>\n\n\n\n Austin Butler\u2019s performance as Elvis is a true highlight of the overall film. This man devoted two full years of research into this role and it shows. It is apparent in all the little mannerisms and stage presence shining through in the film. <\/p>\n\n\n\n There are so many moments in the movie where I am fully able to let go of Austin Butler the actor and see only Elvis. I believe it is an incredible feat for any actor to meld so seamlessly into a different person. <\/p>\n\n\n\n The vulnerability on his face as he cries after the death of his mother is heartbreaking. He looks so young with red rimmed, tear filled eyes. It\u2019s such a contrast from the easy going smirks he normally wears throughout the film. <\/p>\n\n\n\n Besides his talent, good god the man looks phenomenal. Never in my life did I believe that I would be in a chokehold over Elvis, Austin Butler, and Austin Butler as Elvis. We’re here now though and I have zero regrets. <\/p>\n\n\n\n His first performance in the pink suit paired with the lace shirt underneath had me absolutely feral. Baz\u2019s true talent is modernizing experiences of the past. He knew what he was doing here. <\/p>\n\n\n\n The Colonel at this point has noticed the effect Elvis is having on the crowd. He remarks, \u201cShe was having feelings she wasn’t sure she should enjoy. He was a taste of forbidden fruit and she could have eaten him alive.\u201d Despite a questionable accent by Tom Hanks, I somehow found myself agreeing with him.<\/p>\n\n\n\n The very first time I saw the film I had to look over to my friend with my jaw dropped as Butler wiggled across the stage and an electric guitar took over the soundtrack. I\u2019m fully aware I would have been just another screaming fan begging for a kiss from Presley. I have this film to thank for that knowledge. <\/p>\n\n\n\n This performance deserves a serious evaluation for an Oscar nomination. <\/p>\n\n\n\n As for the controversy which has surrounded the legacy of Elvis Presley, specifically the appropriation of Black music, I think Luhrmann has at the very least offered an opinion to his audiences. <\/p>\n\n\n\n The film portrays Elvis\u2019 choices as reflecting a deep appreciation for the music he recorded. After all, during his lifetime, Elvis never claimed the title of \u201cKing of Rock and Roll,\u201d saying he was \u201cjust an entertainer\u201d when referred to as such. <\/p>\n\n\n\n At times I think the perception of Elvis\u2019 legacy, specifically by his white fan base, has done him a disservice. It asserts him as the \u201cbe all end all\u201d of rock and roll despite the multitude of Black artists who so rightly deserve the title and recognition. I don\u2019t say so to diminish Elvis\u2019 accomplishments and talents as a performer, but to reflect on the reality of privilege he enjoyed in life and in death. <\/p>\n\n\n\n In the film specifically, I love that we as the audience never forget the roots of Elvis\u2019 fame. His fame is due to his exposure and proximity to Black music in his childhood and teenage years. Gospel and rhythm and blues are forerunners of Elvis’ backstory. <\/p>\n\n\n\n During Elvis\u2019 Las Vegas rendition of “That\u2019s All Right Mama,” the split screen ties Elvis back to Arthur Crudup\u2019s original version, as well as Elvis\u2019 first recording of it during the 50s. The film tells you not to forget who came first.<\/p>\n\n\n\n Other than this specific instance, we get a taste of Beale Street through recreations of Sister Rosetta Tharpe, Willie Mae “Big Mama” Thornton, Little Richard, B.B. King, and later on in the film Mahalia Jackson and Fats Domino. For some viewers, these might be unfamiliar names which deserve their time in the spotlight. <\/p>\n\n\n\n Unfortunately this time is still relative and small in relation to Elvis in the film. I believe that Luhrmann has tried to showcase Black music and culture within the film, but the iconography of Elvis still overshadows them as he is the biopic\u2019s core subject. <\/p>\n\n\n\n At best, this effort reveals the admiration Elvis had for Black music. At worst, it is an excuse for his appropriation of said music over his career. <\/p>\n\n\n\n At the very least there are Black artists getting a cut of the pie of the biopic\u2019s immense success. It seems only right that Black musicians profit off of his continued fame through their artistry on the soundtrack. By now we’ve all heard Doja Cat’s “Vegas” which is a chart topping vibe, but the soundtrack has many other highlights.<\/p>\n\n\n\n Yola\u2019s performance as Sister Rosetta Tharpe and her song “Strange Things Are Happening Everyday” are pure talent. Shonka Dukureh singing as Big Mama Thornton feels fresh and powerful. Another strong favorite is Jazmine Sullivan\u2019s haunting rendition of “Sometimes I Feel Like a Motherless Child.” <\/p>\n\n\n\n Give them a listen. Or just keep listening seeing as the soundtrack is highly ranked on multiple Billboard charts already!<\/p>\n\n\n\n The film lacks true direction at times due to the Colonel\u2019s narration and storyline, which feels out of place at times and jolting at others. My friend says the Colonel\u2019s scenes add to the dream-like aspect of the film. I\u2019m not sure I agree. <\/p>\n\n\n\n The Colonel is an unreliable narrator. The Colonel believed they were partners, told us he didn\u2019t take advantage of Elvis, and it was the pills to blame for Elvis\u2019 demise. The story proceeds to out him as a liar. <\/p>\n\n\n\n The Colonel\u2019s use as an unreliable narrator means I paid more attention to my own perception of Elvis. The relationship between Elvis and his manager is obviously fraught with conflict and exploitation. As an unreliable narrator we can\u2019t trust his perception of the situation at all. <\/p>\n\n\n\n As a plot device the Colonel serves his purpose. I\u2019m not sure I enjoy hearing parts of the film from his perspective, but I can accept it as an element of an original portrayal of Elvis\u2019 story.<\/p>\n\n\n\n Tom Hanks\u2019 accent for Colonel Tom Parker was the most distracting element on my first watch. Surprisingly, it\u2019s gotten less offensive over time somehow. It makes for an excellent impression to add to my friends\u2019 catalogs. <\/p>\n\n\n\n After all, at this point we all agree, there\u2019s nothing quite like \u201csnow business.\u201d<\/p>\n\n\n\n During my first watch I was even a bit distracted by the closeness between Elvis and his mother finding it a bit weird and off putting, but on each re-watch I\u2019ve reflected why I felt this way to begin with and have come to find the relationship both genuine and understandable.<\/p>\n\n\n\n Another criticism is what I can only describe as virtue signaling during the scenes related to Martin Luther King Jr\u2019s death as well as Robert F. Kennedy. After conducting my own extensive research into Elvis as a person, I realized my own assumptions about Elvis might have colored my opinion on this during my first watch. After doing my own reading, I know Elvis was not a racist, but the film portrays him as being more outspoken than he publicly was during this time. <\/p>\n\n\n\n However, one the absolute highlights of the film is the performance of If I Can Dream. This song is a more honest expression than his line, \u201cDr. King, he always spoke the truth.\u201d The music sections are truly the gems of this film, so much so that I\u2019m willing to let its weak spots slide.<\/p>\n\n\n\n As for the emotional beats of the film, they continue to hit time and time again. Two of my favorite scenes are towards the end of the film and they both involve Priscilla. <\/p>\n\n\n\n The scene where she leaves him is dynamic in that Priscilla starts off in a place of defensiveness and slowly moves into vulnerability by the end of the scene. He asks her not to go and her response is, \u201cDo you remember the last time we laughed together?\u201d That. Line. Killed. Me. <\/p>\n\n\n\n Combine it with his statement a few lines later of: \u201cWhen you\u2019re 40 and I\u2019m 50 we\u2019ll be back together.\u201d You truly feel that these two people love each other, but understand the relationship is not equal or fair. It\u2019s also tragic, because we know Elvis will never make it to 50. <\/p>\n\n\n\n In the last scene with Priscilla she asks him to go to rehab. She tearfully tells him, \u201cIf you dream it, you can do it.\u201d This mirrors the first scene Priscilla is featured in where she tells him the same thing. 1958 Elvis takes her statement in stride, confident with her support, 1975 Elvis however is \u201call out of dreams.\u201d <\/p>\n\n\n\n This statement is heartbreaking. This once vibrant man is broken down by his circumstances. He is empty after those around him have taken their own slice of the pie that is Elvis. The result has left him empty of hope and dreams.<\/p>\n\n\n\n Baz certainly thrives in his world of organized chaos. While many directors fail to bring it home in their third act, I\u2019ve never felt this was true of Baz Luhrmann. He struggles the most in the first act where the viewer must get used to his larger than real life world. However, his third act is always tightly structured and exhilarating. I believe this may be why his films are rewatchable to the point of fanaticism.<\/p>\n\n\n\n The conclusion of the film finishes on real footage of Elvis\u2019 last concert in 1977. His performance of “Unchained Melody” is absolutely heart wrenching. Baz intercuts this song with a quote from a 1971 speech: <\/p>\n\n\n\n \u201cWhen I was a child, ladies and gentlemen, I was a dreamer. I read comic books, and I was the hero of the comic book. I saw movies, and I was the hero in the movie. So every dream I ever dreamed, has come true a hundred times… I’d like to say that I learned very early in life that “Without a song, the day would never end; without a song, a man ain’t got a friend; without a song, the road would never bend \u2014 without a song.” So I keep singing a song.\u201d <\/p>\n\n\n\n The combination of these while showing snippets of Elvis over his lifetime is a deadly mix. It delivers my guaranteed tears each time.<\/p>\n\n\n\n I wonder if perhaps the reasons why the film has become so popular is not just the allure of the grandeur of Baz Luhrmann\u2019s directorial style, but also the throughline of dreams in the film. It\u2019s a relatable connection to Elvis. <\/p>\n\n\n\n Many of us begin our existences with a thirst for life. Our dreams are bigger than life. Over time circumstances beat those dreams out of us until we are left aimless. This may not be everyone’s experience, but I believe it is enough to warrant a deep connection to the film. <\/p>\n\n\n\n There is nothing more tragic than the death of your dreams. That\u2019s what I feel I understand about Baz Luhrmann\u2019s Elvis after watching this film.<\/p>\n\n\n\n So here are my questions. What is your opinion on the film? Do you agree or disagree with any of my takes? If you loved the film, what were your favorite scenes or costumes? How many of you are as enamored by Austin Butler as I am? Did this film reinforce or change your perception of Elvis Presley?<\/p>\n","protected":false},"excerpt":{"rendered":" Baz’s Elvis Lives and Breathes Every Baz Luhrmann film is a unique experience and his new film Elvis is no exception. I know the editing process is incredibly involved, especially after watching the film four times, but it’s clearly worth all the time and effort. There are so many transitions, split screens, camera angles, and…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"WB4WB4WP_MODE":"","WB4WP_PAGE_SCRIPTS":"","WB4WP_PAGE_STYLES":"","WB4WP_PAGE_FONTS":"","WB4WP_PAGE_HEADER":"","WB4WP_PAGE_FOOTER":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[8,7,5,6],"tags":[13,10,16,11,15,9,17,12,14],"class_list":["post-78","post","type-post","status-publish","format-standard","hentry","category-auteur-directors","category-baz-luhrmann","category-film","category-film-review","tag-austin-butler","tag-baz-luhrmann","tag-biopic","tag-costume-design","tag-elvis","tag-film","tag-music","tag-production-design","tag-tom-hanks"],"jetpack_publicize_connections":[],"yoast_head":"\nCatherine Designs Elvis with Purpose<\/h2>\n\n\n\n
Austin Butler is the New Talk of the Town<\/h2>\n\n\n\n
I’m Fangirling a Bit, Can You Tell<\/h2>\n\n\n\n
Elvis Presley and the Appropriation of Black Music and Culture<\/h2>\n\n\n\n
Baz Tries For Complexity But Still Falls a Bit Short<\/h2>\n\n\n\n
That Soundtrack Though<\/h2>\n\n\n\n
Unreliable Narrator is also Unlikeable<\/h2>\n\n\n\n
Don’t Let Your Assumptions Color Your Viewing<\/h2>\n\n\n\n
The Feelings Keep Hitting<\/h2>\n\n\n\n
A Strong, Personal Ending<\/h2>\n\n\n\n
What This Film Means To Me<\/h2>\n\n\n\n
Now Tell Me What You Think<\/h2>\n\n\n\n