Elvis: Baz Luhrmann’s Weird Biography Combines the Worst Sides of Two Horrible Indian Blockbusters

Directed by Baz Luhrmann’s Elvis’ biography It’s so unbearable that it makes a strong case for why studios should always withhold some oversight over auteurs, and resembles not one but two of the blockbusters. India’s worst in recent memory. No one would have expected Luhrmann to investigate some of the deeper aspects of Elvis’ life — the King of Rock and Roll has never been able to shake off accusations of predatory behavior toward minors — such as term, but as a fan of the filmmaker’s maximal style, I don’t expect Elvis to be Sanju’s marriage of moral evil and structural anarchy. Movies KGF.

But first, a story. In an effort to maintain minimal journalistic integrity, I decided that since I wanted to write about KGF recently: Chapter 2, I had to first get acquainted with KGF: Chapter 1. So one evening summer a few weeks ago, I threw it on, unsure of what was going to happen, and completely unprepared for what I was in. Two minutes pass and the non-skippable trailer always plays on Prime Video before your movie or show is over. I only paid half attention, realizing that I had no choice but to wait for it.

But it wasn’t until another minute passed that I was struck by two quick, back-to-back realizations. The first is that for some reason Prime is plugging in the first KGF movie for me while I wait to see the first KGF movie. This is odd, but not odd; Netflix often advertises directly at Netflix’s paying customers. But then it hit me. What I’m watching isn’t the trailer for KGF: Chapter 1. I’m watching the movie itself.

Through the elaborate title cards featuring ‘Rocking Star Yash’ and randomly assembled images of the actor posing seductively onscreen, I discovered that the first few minutes of KGF: Chapter 1 were already deliberately designed to mimic a dizzying montage. The most accurate way to describe KGF (or, at least, whatever percentage I can see) is like sitting through an endless version of one of the ‘last time on.. .’ is played before new episodes of the show TV.

I never finished the movie; I checked after the scene where our ‘hero’, relentlessly stalking and harassing a poor woman, locked her in a hotel room wearing nothing but a bathrobe. I chose not to watch KGF because it is a morally offensive piece of work. But I would have forgiven it and moved on if its crimes were limited to insulting cinematic language. I dodged a bullet with that movie, and also KGF 2, which I later lost all ambition to test. But life doesn’t let me go so easily. If I had watched Elvis at home and not on an IMAX screen, I would have stopped halfway.

Loud, ridiculous, and easily the worst film of Luhrmann’s career, Elvis swears by a kind of relentless narrative that can only be rivaled by the filmmaker’s strangely objective decision to shape his life. rock star’s life from the perspective of his manager, Colonel Tom Parker — it’s like telling Taylor Swift the story through the eyes of Scooter Braun — and it has absolutely no interest in examining the person underneath the prosthetic. At the time it was revealed that the reason it appeared as a three-hour Shakespeare fever dream was because that’s exactly what it was about—in a moment of blindness and missed, that implied. that Colonel Parker’s entire life had flashed before his eyes as he whirled through this deadly coil – it was too late.

And in its pursuit of capturing the icon’s whirling life, it simply doesn’t stop breathing. Nor does it have an emotional cord that can weave the lush tapestry of Elvis’ career. Although there is a half-hearted attempt to attribute this responsibility to his love affair with his wife Priscilla. Their scenes together are emphasized in retaliation after retaliation for the song “Can’t help falling in love”, which is considered a kind of leitmotif but does little justice to the film, the characters or it’s him.

The film is more interested in predicting Elvis as a bird trapped in a gilded cage, or comparing him to a monkey in a circus. Luhrmann, who cut this 4-hour clip that seems to have been brought down by Jesus Christ himself—thank God—into the tragedy of Elvis’ life by seriously hitting every necessary note with force of a million burly men. We wanted to sympathize with him, feel sorry for the way he was treated and walk out of the cinema not out of need for ORS but in renewed awe at his talent.

It was never the film’s burden on deal with a character’s bad behavior. Ideally, the movie should explain it, put it in context, and move on. But like the objective horror of Rajkumar Hirani Sanjay Dutt biography, Elvis chooses to actively defend the protagonist’s misconduct. Probably understood that even the King’s most loyal fans could not explain his alleged predatory pattern of abuse — his courtship with Priscilla began when she was 14. age, a decade younger than him — the movie completely ignores this. And it dealt with Elvis’ family abandonment and repeated infidelity with the kind of immutable fact that people often put before ordering waffles at a Vegas diner.

Of course, there are a few moments where Lurhmann’s signature rings. A scene with BB King at Club Handy is particularly electric, as well as another that includes entirely — and I’m not exaggerating — shots of instant star Austin Butler striding down the street while the remix of “Hounds” Dog” by Doja Cat pounding in the background. It’s the kind of transcendent musical and visual that Luhrmann does so well. But almost all of this happens within the first hour. The rest of the time, you mostly wait to leave the building.

Post Credits Scene is a column in which we analyze new releases every week, with a particular focus on setting, effects, and characters. Because there is always something to fix once the dust has settled.

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