Cannes 2022: Baz Luhrmann remixed ‘Elvis’ – Up News Info

CANNES, France – At the beginning of Lurman’s film Elvis, which features a hyperventilated, entertaining and utterly insane film about the life and times of Elvis Presley, I was amazed to see. I was amazed when Lurmann split the screen, cut it into pieces, slowed it down, sprayed the colors, and made Elvis not just a king, but a savior, martyr, and transformer of American civil rights who, through his innocence, decency, music, and thighs, helped heal nation.

Of course, “Elvis”, which premiered at the Cannes Film Festival on Wednesday, can be classified as a biographical portrait, a story from the cradle to the grave (more or less) of a little boy from Tupelo, Mississippi, who became a sensation of pop culture and a sad cautionary story played in adulthood by an attractive, hard-working Austin Butler, despite an evil man, also known as Colonel Tom Parker (Tom Hanks), who cared for him. But Luhrmann – whose films include Moulin Rouge, The Great Gatsby and Australia – does not make it simple or ordinary. A visual maximalist, he likes to get bigger and then bigger, and he likes to be very bright. Most filmmakers just want to figure it out; the great strive for perfection. Luhrmann wants to blind him.

The narrative axis of the film and, oddly enough, its most materialized character is Colonel Parker, played by Hanks with a huge, apparently fake belly, bright jaws, a nose that protrudes like the nose of a ship, and a confused accent. I would like to listen to Luhrmann and Hank talk about their ideas about the character; if nothing else, it could explain what they were looking for here. Honestly, I have no idea, although the image of Sydney’s Green Street, which looms menacingly in The Maltese Falcon, has repeatedly come to mind with a hint of “Hogan’s hero.”

Written by Luhrmann and several others, the film traces Elvis’s trajectory through Parker, an interesting choice given that the colonel is the villain of the play. They meet when Elvis is a young stranger and still under the care of his mother and father. As soon as the colonel sees Elvis’s speech, or rather, he witnesses the euphoric reaction of the screaming female audience – he realizes that this child is a gold mine. The colonel bursts in, seduces Elvis and puts him under his yoke of exploitation. The rest is history, the one that Luhrmann follows from the unknown to Graceland and, finally, to Las Vegas.

Even non-Elvisologists must recognize the broad outlines of this story as it goes from a handsome boy to a sensationally talented and decrepit idol. However, those who know little about the ugliness of Elvis’ life may be surprised by some of Lurmann’s ideas, especially regarding the civil rights movement. The white musician who played and helped promote black music for white America, Elvis was undoubtedly a critical crossover figure. What is inconvenient is the huge role that Lurmann plays in Elvis in America’s horrific racial history.

In the Elvis Gospel preached here by Luhrmann, the main performer is not just a fan or interpreter (let alone an exploiter) of black music. Rather, he is a prophetic figure of change who, through his time in the black church, black juke clubs, and black music clubs, will be able to bridge the race gap or at least make whites shake, rattle, and roll. . As a child, Elvis felt the spirit of the department and beyond; he later becomes an instrument of change, copying black ecstasy and pumping white viewers with his slender thighs, driving them to sexualized madness.

As Elvis rises and the colonel ponders, Luhrmann unwinds many parts, unfolding the story. The 1950s gave way to the 60s and 70s among songs, expensive toys, murders, personal tragedies and habitual recreation, although I don’t remember hearing the words “Vietnam War.” Family members come and go, tears flow, pills pop out. There are significant gaps (not Anne-Margret or something like Richard M. Nixon), and apart from the beautiful scene in which Elvis from Las Vegas organizes a large ensemble of musicians, there is also little that Elvis actually created music. He listens to black music and almost thanks to osmosis and pure kindness becomes the king of rock ‘n’ roll

While Butler suffocates, ponders, and sweats, he is tasked with a role that seems impossible. Elvis’ stunning appearance, which remained intact even when his body became swollen, is an obstacle, as is his charisma and talent. Butler’s action grows as Elvis ages, especially when he arrives in Las Vegas. However, the insurmountable problem is that Luhrmann never allows any scenes either to play a song without worrying about it one way or another – to cut it, tear it, turn the camera back and forth, push and walk – is a frustrating, sometimes outrageous habit, which means that he always attracts attention to himself and from Butler, even when he wants to. the young star is doing his best to burn down the house.

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