Elvis: Return of the King review

Elvis: Return of the King review

Holy King

It will take a few minutes for Elvis Presley’s face to appear. By pushing the unveiling of his star back, Baz Luhrmann made it the central object. Like a carpet behind a heavy red curtain, The spectator is impatient to discover Austin Butler dressed as the King Or rather, as a young prince.

Wonderful, hypnotic, Austin Butler is a great revelationElvis. Despite the reluctance of some, he managed to perfectly embody the man who made an entire generation dream. From his world-famous swinging hips to subtle expressions and hair movements, the actor is more than honest with whoever he embodies. because yes, When you play Elvis Presley, you are not just playing a celebrity, you are a legend.

Danny Zuko’s predecessor

Sold to the viewer as a living deity, thanks to the very heavy narration of Empsario (the only real hiccup in the movie), he is also represented as such. In the same way that Elvis drew all eyes, Butler attracts the camera like a magnetAnd the And that’s to the end, even when the King’s face changes and he’s only a ghost himself.

As one might expect, Elvis He does not deviate from the classic biographical rule to show memories of fame, but this second, quieter part, is no less interesting than the very rhythmic first. In fact, it was a shame to only focus on the glorious moments when The king fell and found himself completely drugged, artificially kept alive by birds of prey..

The one we described as a ready-to-fly bird found itself deprived of its wings and gradually withering away. as he did in The wonderful GatsbyAnd the Luhrmann cares about the tragic character, although everyone admires himto a geek who will suffer the consequences of his fame.

Elvis: Portrait of Austin ButlerThe goal of all desires

Satan in disguise

Elvis Don’t forget to remind us that the downfall of the King of Rock and Roll is due in large part to his meeting with Colonel Parker, Demonic impresario, even frankly MachiavelliWho sees the perfect sustenance. As usual, Baz Luhrmann doesn’t go with the back of a spoon and Makes Tom Hanks a true cartoon villainvery cartoonish and one of the followers of “entourloupes” as he constantly repeats.

He’s more than just an exploiter She appears as a monster with spooky prosthetics and distorted visuals, as happened during the sequence in the Hall of Mirrors in the amusement park making it distorted as it is everywhere. He does not see in Elvis a man who can change the world of music, but a stranger who is able to make him the richest man, which he will be for a while. He was first introduced as the master of dance, and became a surrogate mother to the king.

Elvis: Portrait of Austin ButlerThe shade that sticks to her skin

In addition to making his main character an idol, the film maker reminds us that he is The first historical victim of marketing. The attractive and provocative face of Elvis is found on pillows, mugs, and other things of all kinds. Smartly, Baz Luhrmann makes his little lesson in media history and insists on the benefit of having critics and the importance of also, for a colonel, making a profit on their backs, because yes, everything is always a silver question.

intense music, Elvis He also uses music to reflect a character’s state of mind, becomes a common thread that allows them to insist on their emotions. Thus, when the king challenges authority and decides to destabilize, he performs his song problem The motto of his freedom, and when he finds himself stuck in Las Vegas while wanting to travel the world, it is clear that suspicious minds sings and Then the famous phrase “trapped” takes on its full meaning.

Elvis: Photo Austin Butler, Tom HanksEvil Hanks

Elvis He is also surprised when he quotes the news and decides not to make King a world star, but One of the famous people of his timeThe one who constantly responds to the concerns of his time and is influenced by them above all. If committed against racial discrimination, Elvis Presley appears as a politicized person who will never really be able to make his voice heard because of the non-sales side of politics. It must remain a dream, a fantasy.

Luhrmann makes this desire for commitment a real challenge to his character, limiting himself to remaining silent and showing a good face despite some cheerful moments of rebellion. Influenced by the assassinations of Senator Bob Kennedy and Martin Luther King, Subject to apartheid that rages even at his concertsElvis suffers from impotence.

While the film could have focused simply on the character of Elvis, the “white man who sang like the black man,” it also honors musical influences and his love of rhythm and blues and gospel. A love he had since his childhood since he was Influenced by the grace of black music and the gospel of transcendence. Big Mama Thornton, BB King and even young Richard make their appearance and show another side of the 50s and 70s by evoking these artists who were then not allowed to go on radio.

Elvis: Photo by Shunka DokoreBig Mama Thornton

tourbillon buzzer

If you only need to know one thing about Baz Luhrmann before seeing it Elvisis that he loves Dizzy spectators And his new movie is clearly no exception to his sacred style. If the editing is really electric, sometimes tying very short clips into a stunning frenzy, the director also allows himself to conduct visual experiments between the abundance of screen and even the animated sequence in the comic strip.

Baz Lurhmann proves once again that he loves montage strings and these work great, especially when the accompanying music is outdated, makingElvis Visual object pop. As usual, the director is not satisfied with telling a story, but uses all the technical capabilities at his disposal to explain his point of view, which may confuse some. The camera pans and zooms in and out, and the shots frantically follow each other And external sounds constantly tickle our ears.

Elvis: Portrait of Austin Butlerhypnotic

Most This visual identity never contradicts the autobiographical narrative Since one cannot imagine a biography of Marilyn Monroe without a plan where her white dress flies away, one could not have imagined a biography of Elvis without a scoop of moments that became iconic and understood so well by Baz Luhrmann. Reconstructing some of the clips now included in pop culture is impressively realistic, and we owe that in part to Catherine Martin, interior designer, fashion designer and chance companion to Baz Luhrmann, Artistic Director on all of his films.

Whether it’s when he’s forced to cut his hair to go into the army, when he comes back wearing everything leather for his TV comeback or while performing in Vegas, Austin Butler fades behind the King And Facebook experts are likely to be influenced by this desire for realism. Luhrmann skillfully includes archival footage throughout his film, images that will not be noticed by the eyes of an untrained viewer, but which will entice and confirm King’s fans Baz Luhrmann did an exciting job of re-enactment.

Elvis: Official poster

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