The movie career of Elvis Presley was derailed; during the 1960s, while The Beatles and Rolling Stones were touring extensively, he found himself trapped making over twenty forgettable films. This prevented the rock n’ roll revolution centered around him from continuing its momentum. Interestingly, this story and more have now been brought to the screen in the biographical film ‘Elvis’. Directed by Baz Luhrmann (known for ‘Moulin Rouge!’ and ‘The Great Gatsby’), the movie stars Austin Butler as the iconic jailhouse rocker. It covers Presley’s entire career but with a strong focus on his complicated relationship with manager Colonel Tom Parker, portrayed by Tom Hanks. It seems the conspiracy theorists were correct—Elvis Presley is alive and well, or at least that's what it appeared to me while watching Austin Butler’s performance. I can hardly express my admiration for Butler, and I feel he deserves all the recognition coming his way during awards season. There are three distinct Elvis Presleys: the rock star of the 1950s, the movie actor of the 1960s, and the icon of the 1970s. They each have their own unique style and presence, and Austin Butler captured and embodied all three. The film is structured in a way that gives each Elvis (or Elvi?) roughly an hour to showcase themselves. Helen Thompson, who plays Elvis’ mother Gladys Presley, and Alton Mason, portraying Little Richard, also deserve praise—I wish we had seen more of Mason's performance. The initial quarter of the movie focuses on Elvis’ rise to fame in the late 1950s, and many scenes, especially those featuring conversations between Elvis and Gladys about their future, are incredibly powerful and moving. Every director has a signature style, like Alfred Hitchcock’s calculated darkness or Michael Bay’s action-packed sequences. Baz Luhrmann’s is characterized by extravagant flair. I can't overstate how impressive the film's visual design is, whether it's the set design, costumes, or the way Austin Butler commands attention on screen. Luhrmann’s influence is strongly felt throughout, particularly for those familiar with his previous work. He also co-wrote the screenplay, which further reinforces my belief that he was the ideal choice to direct this film. While some movies might haphazardly insert songs, ‘Elvis’ earns every musical cue. It doesn't just use existing music; it reinterprets it. Even seemingly simple or throwaway tracks like ‘Cotton Candy Land’ and ‘Power of My Love’ are transformed into meaningful themes for the characters. New songs such as ‘Vegas’ by Doja Cat, ‘Tupelo Shuffle’ by Swae Lee with Diplo, and ‘Let It All Hang Out’ by Denzel Curry also contribute to this sense of extravagance and energy. One track that was particularly well-used was the iconic ‘Unchained Melody,’ which consistently brought audiences to tears during its opening weekend run in theaters. There wasn't much I didn’t enjoy about the film. With a runtime of two hours and forty minutes, it might feel long for some viewers, but I believe the length is justified—cutting anything would diminish the story and emotional impact. The narrative unfolds like a puzzle, with each piece essential to understanding the complete picture. Baz Luhrmann has mentioned there’s a four-hour cut in storage, which he likely won't release, but I suspect it exists. However, I wish more time had been dedicated to the period when Elvis was forced to make those truly awful films of the 1960s. You can sense the significance of this wasted time in his life, but it’s not explicitly shown and might confuse viewers unfamiliar with that era. The introduction of Elvis' wife, Priscilla Presley, also felt somewhat weak, as their meeting isn’t depicted. While she isn't central to the main storyline (Elvis and Colonel Parker), omitting their first encounter was a bold choice. I would have handled Tom Hanks’ portrayal of Colonel Parker differently too. Many online have described his performance as “cartoonish,” and Cristopher Loya, who saw the film with me, compared it unfavorably to Jared Leto's over-the-top depiction of Paolo Gucci in ‘House of Gucci’. I agree—this cunning, manipulative businessman should have been a shadowy figure in Elvis’ story, not comically running around laughing with a cane. It’s not a terrible performance, but it didn’t convey the intended impression. Elvis Presley holds different meanings for different people. He is portrayed honestly here, with little held back. The film's climax, centered on his 1968 NBC television special, “The Comeback,” shows him grappling with mortality and relevance while performing the underappreciated song ‘If I Can Dream.’ This scene speaks volumes about how the filmmakers feel about Elvis Presley—whether it’s the tears in Austin Butler’s eyes as he sings, the camera's focus on Colonel Parker watching from behind, or Baz Luhrmann’s manipulation of the background with magazine articles illustrating public perception at the time. It feels like an enhanced stage play with thoughtful dialogue throughout. I thoroughly enjoyed the film and it ranks highly among my all-time favorites. While Elton John’s ‘Rocketman’ remains my top biopic choice, second place isn't bad at all. Everyone involved collaborated to create a memorable cinematic experience that the whole family can appreciate. I recommend seeing it while it’s still playing in theaters worldwide.

Source on TMDB