Elvis movie review & film summary 2022

Rate this post

Now playing in theaters.

Table of Contents

About Film

Baz Luhrmann is the director of the 2022 biographical musical drama film Elvis, on which he also collaborated on the writing with Sam Bromell, Craig Pearce, and Jeremy Doner. The story of Elvis Presley, a rock & roll icon, singer, and actor, is portrayed through the eyes of Colonel Tom Parker, Presley’s manager. Tom Hanks plays Parker, and Olivia DeJonge, Helen Thomson, and Richard Roxburgh also appear. Austin Butler plays the main character.


The Elvis movie “Elvis” has all the glitz, rhinestones, and jumpsuits you’d anticipate, but it lacks the complexity required for a 2022 picture about the “King.”

Baz Luhrmann is not the ideal director for an Elvis Presley biopic because he despises aesthetic constraint and prefers grand theatricality instead. From Colonel Tom Parker, the singer’s longstanding, dishonest manager, Luhrmann narrates the tale of this superstar (Tom Hanks).

An almost dead Parker awakens without anyone else in a Las Vegas medical clinic room subsequent to falling in his conspicuous, memorabilia-filled working environment. He really wants to demonstrate his innocence since he has been known as a convict by the media for exploiting Elvis (Austin Butler).

The tasteful language of Luhrmann is obvious immediately: A clinic robe clad Parker enters a club and advances toward a roulette wheel while an IV dribble changes into the Las Vegas horizon. Hanks depicts Parker like the Mouse King in “The Nutcracker,” putting on a ton of gestures. “Elvis” moves like a Christmas fantasy turned bad dream for the very first half hour of the film; one that is pushed not by envy yet rather by the treacherous grasps of free enterprise and prejudice and the intense blend they produce.

Getting a handle on why “Elvis” doesn’t work, especially because for expanded lengths it offers floods of enthralling entertainment entirely is testing.” In the early goings-on, Luhrmann and co-researchers Sam Bromell, Craig Pearce, and Jeremy Doner cautiously work around Presley’s influences. They figure out how Gospel and Blues comparably charmed him — a very much modified, both obviously and sonically, progression mixes the two sorts through a perspiration-doused execution of “That is Alright Mama” — and they in like manner show how much his time visiting Beale Street enlightened his style and sound. A show of “Canine” by Big Mama Thornton (Shonka Dukureh), and the ascent of a flashy B.B. Ruler (Kelvin Harrison Jr.) further the point. Presley esteems the legend Shazam and dreams about showing up at the Rock of Eternity, a substitute for distinction in this present circumstance. He’s similarly a momma’s child (luckily Luhrmann doesn’t overemphasize the death of Elvis’ kin, a verifiable reality mocked by “Walk Hard: The Dewey Cox Story”).

Hanks has acted in numerous biopics, but he has rarely changed the game. His accent is now returning to Hanks in this situation. Additionally, he benefits from the cumbersome prostheses preventing him from using his facial range, a valuable but underused item in his repertoire. Furthermore, Hanks already struggles to play overt villains, so framing the story from his perspective reduces any danger he would otherwise present. Hanks must balance being shrewd and unassuming with care. Although Hanks’ friction isn’t always effective, it complements Luhrmann’s film, which mainly relies on artifice.

The most captivating linkage in “Elvis” is the extrapolation of trade and race. Parker is fascinated by Presley since he plays Black music however is white. Elvis switches off the white Christian old, similar to the doomed country vocalist Hank Snow (David Wenham), and the homophobic men who look at him as a “pixie.” Yet he invigorates the youthful, as Jimmie Rogers (Kodi Smit-McPhee, the two entertainers give incredible lighthearted element), and he engages in sexual relations bid. A squirm, if it’s all the same to you. Luhrmann treats that squirm in a serious way, showing physically had, shouting ladies. Head servant’s groin, in unequivocally fitted pink jeans and shot in close-up, vibrates. Unforgiving zooms, fast whip dish, and a preference for horniness (by all kinds of people) assist with making the early snapshots of this biopic so extraordinary. As does its enemy of entrepreneur bowed, which portrays how frequently work, craftsmanship, and possession can be let out and confused in the disastrous framework.

Tragically, “Elvis” rapidly enters the domain of the stodgy biopic. We see Presley’s fast rising, his initial mistakes — whether welcomed on by ravenousness or innocence — and his definitive slide into self-spoof. The most exhausted of beats prompts the demise of his mom (Helen Thomson). Richard Roxburgh, his dad, shudders in the most irrelevant of ways. At the point when Priscilla (Olivia DeJonge) shows in, she is given the standard heartbreaking spouse material. The plot simply needs more tomfoolery or interiority to hold up as the mood eases back.

Yet, all things being equal, the last option segments of Luhrmann’s film aren’t without their joys: The “Difficult situation,” by which Presley resists the Southern bigots who dread his Black-mixed music (and sexiness) will penetrate white America, is capturing. Cinematographer Mandy Walker’s freeze outlines emulate highly contrasting photography, such as enveloping history by the morning dew. The presentation of Elvis’ rebound is unique, explicitly his version of “If I Can Dream” takes off. During the Vegas groupings, the outfits become always intricate, the make-up perpetually ostentatious, intensely showing Presley’s actual downfall. What’s more, Butler, a far-fetched Elvis, firmly grasps the reins by giving one show-halting note after another. There isn’t a smidgen of fakery in anything Butler does. That truthfulness inspires “Elvis” even as it tumbles.

However, really quite frequently the film slips into an extraordinary white expectation condition, by which Presley is the earnest white legend uncovering the fascinating and sexy Black specialists of his time. B.B. Lord, Big Momma Thornton, and Little Richard (genuine allies of Presley) exist exclusively as either notice board team promoters or charming creatures from a distant land. While these Black specialists are supported — a mindfulness by Luhrmann of their significance and the long and twisting history of Black workmanship traveling through blank areas — they scarcely talk or hold any profundity, even while a paternalistic Presley progresses their goal.

The methodology neither enlightens nor exalts these figures. All things being equal, Luhrmann attempts to streamline the convoluted sentiments many Black people of shifted ages have toward the indicated King. In that smoothing, Presley loses sufficient risk, and enough captivating confusions to deliver the entire venture unsurprising. Since it’s sufficient not to just have mindfulness, a producer likewise has an obligation to address whether they’re the ideal individual to recount a story. Luhrmann isn’t. Furthermore, that is a faltering that will be challenging for some watchers to disregard.

Luhrmann evades different pieces of Elvis folklore, including the age hole among Priscilla and Presley (the pair met in Germany when the previous was 14 years of age), and when Elvis turned into a chump for Richard Nixon. Barring the last option looks bad in a film concerning the commodification of Presley by private enterprise and traditionalism. Luhrmann needs to show the destruction of a doe-looked at symbol by evil frameworks however never stretches the limits enough for him to become unlikable, or even better, many-sided and human.

That leveling effectively emerges from recounting this story according to Colonel Parker’s point of view. He couldn’t care less about Black individuals, accordingly, they exist as cardboard patterns. He really focuses minimally on Priscilla, accordingly, she has little personhood. Also, Parker positively won’t harm the picture or brand of Elvis since it erodes himself. These bothersome results, effortless and inconsequential, check out thinking about the outlining of the account. Yet, what benefit is making a disinfected Elvis biopic in 2022? What’s more, really, who needs a further stronghold of Presley’s social significance when it’s been the prevailing strain for north of 60 years? It’s one more poisonous draft in history cumbersomely composed by white hands.

“Elvis” positively functions as a jukebox, and it conveys precisely the exact thing you’d anticipate from a Luhrmann film. In any case, it never draws near to Presley; it never manages the knotty man inside the jumpsuit; it never wrestles with the complexities in his heritage. It’s overstuffed, swelled, and capitulates to worn out biopic choices. Luhrmann generally sets Butler in the best situation to prevail until the credits, by which he slices to a recorded film of Presley singing “Unchained Melody.” At that point Luhrmann helps you to remember the legend making at play. This is perhaps something to be thankful for, given Luhrmann’s deceptive, plasticine approach.


Elvis was dramatically delivered in Australia on June 23, 2022, and in the United States on June 24, by Warner Bros. Pictures. It was recently booked to be delivered on October 1, 2021, preceding being postponed to November 5, 2021, because of the COVID-19 pandemic, and later to June 3, 2022. The film was not recorded as a component of the December 2020 declaration by Warner Bros. Pictures to make a big appearance its whole 2021 record simultaneously in cinemas and on HBO Max, before the film was formally pushed to 2022.

The film became qualified to be made accessible on HBO Max as well as exceptional video on request (PVOD) on August 8, 2022, 45 days after its dramatic delivery, under an arrangement reported by WarnerMedia in 2021. Notwithstanding, IndieWire detailed presently before that date that the combined Warner Bros. Disclosure had chosen to rather deliver Elvis exclusively to PVOD on August 9 and to Blu-beam/DVD on September 13 with HBO Max accessibility prone to continue in the fall.

The film had its reality debut at the 2022 Cannes Film Festival on May 25, 2022, where it got twelve-minute thunderous applause from the crowd, the longest for an Australian film at the celebration, and binds with Hirokazu Kore-EDA’s Broker for the longest by and large. It likewise opened at the Guadalajara International Film Festival in Mexico on June 10 and at the Sydney Film Festival in Australia on June 15.