Elvis

It’s odd that it’s taken this long for there to be a definitive film about the life of Elvis Presley. After all, this is a man who redefined popular music and has remained emblazoned within pop culture consciousness long after his untimely passing.

Better late than never I suppose, and nobody can doubt the sincerity of director Baz Luhrmann’s efforts to make a definitive Elvis film. In many senses, his at-times gaudy style is the perfect tonic for the King of Rock and Roll. This is an at-once showy film that may or may not give you an occasional headache, depending on your aesthetic preferences.

Nonetheless, Elvis is a gripping ride throughout. That is due in no small part to the performance of Austin Butler, who seamlessly imbues the spirit of the great man himself and provides an uber physical performance (there’s a lot of pelvic thrusting) that is sure to place him in awards contention.

Opposite him is Tom Hanks, playing against type as the villain of the piece. As much of Elvis’ screenplay is focused on the relationship between the titular protagonist and his long-time manager, Colonel Tom Parker, Hanks’ role is a big one. And, though this is definitely one of his more bombastic performances, he does the trick as the piece’s resident pantomime villain.

The extent to which Parker abused his relationship with Presley is undoubtedly the most arresting aspect of Luhrmann’s film and shines a light on the treachery that continues to be commonplace within the music industry. Whether the film builds to its crescendo – in which an overweight, drug addicted Elvis is essentially the resident performing monkey at a Las Vegas casino – well enough is a question that has plagued me since my first viewing; to me, it felt a little rushed and the ending a tad sudden.

Still, there is more than enough beforehand to mark this out as a truly excellent biopic and a fitting tribute to one of music’s all-time heroes. Long live the King indeed.