Friday, July 15, 2022

EVERYTHING OLD IS NEW AGAIN, Vol. 41 - July 2022

Everything Old Is New Again
Vol. 41 - July 2022

By “Doc” Hunter Bush, Podcast Czar


Howdy everyone. I had originally written a different introductory paragraph but decided to scrap it in light of recent events so that I can - unfortunately once again - offer my condolences to anyone and everyone affected by the state of the country. I try to walk a line between not being preachy or condescending while still standing for what I believe in and, in what should not be a polarizing statement at all, I believe in human rights. It’s that simple.

But I am not here to bum you out (any further), in fact I’d like to do the opposite! My personal opinion is that, when things are awful and you feel like doing nothing, you should try to make something that could bring a little joy into the lives of someone else, someone who might be feeling like you are. So I keep putting out these silly columns in the hopes of giving y’all something fun to read, and maybe bring your attention to a movie or show you might not have been aware of, and maybe THAT will bring you some joy. To that end:

Hello again and welcome to Everything Old Is New Again, my monthly column where I search out all the entertainments coming to screens big and small in the coming month and focus on those that are based on some previous intellectual property or another. This means Remakes of older films, Adaptations of books/comics/etc., and Legacy Sequels that pick up where a movie or franchise left off a while ago. Also down at the bottom I’ll have a Spotlight for something that meets EOINA criteria but is available at home if like me, you’re not comfortable to be back in theaters just yet.

Alright? Let’s do it to it.


PREMIERES
Brand spankin’ new and awaiting your attention

July 1st

Minions: The Rise of Gru (dir. Kyle Balda, Brad Ableson, Jonathan del Val)
Where: in theaters

Let’s talk about things that everybody knows for a moment. The minions first appeared in 2010’s Despicable Me as henchmen in the service of Gru, a bumbling megalomaniac voiced by Steve Carell. Much like Nuprin, they were little, yellow, and different. Unlike Nuprin however the minions took the pop cultural landscape by storm and the world was never the same I guess. People seem to love the little gibberish-speaking, occasionally buttock-bearing creaturoids, enough to warrant their returns in two Despicables Me follow ups in 2013 & 2017, and their own spin-off in 2015 which explains their very odd origins. Specifically the fact that they’ve always existed alongside “normal” humans, for some reason always finding the most evil of masters to serve.

Which brings us to something everyone may not know: the sequel to the Minions spin-off is coming out July 1st! This entry, subtitled The Rise of Gru will apparently answer the question that we’ve all been just frothing at the mouth to ask: What were the early misadventures of Gru and the minions like? Well if the trailers I’ve seen are any indication (and they aren’t always, let’s face it) they look actually pretty fun. Fart bombing packed movie theaters in the ‘70s, using cheez-whiz guns, etc. Then young Gru, who the minions refer to as “mini boss” - showcasing a metatextual awareness that borders on a truly mind-shattering understanding of their place in the world - is kidnapped by a group of I’m guessing also villains for some reason and the minions must learn karate to save him. There’s shenanigans, animal transformations, training montages, and kaiju so all in all I’m probably solidly on board for this. I’ve always had a good time with the Despicable Mes even if all the sequels and spin-offs have left very little lasting impression on my life (more like Disposable Me, amirite?)

My big qualm with these trailers is the use of Eminem’s “Lose Yourself” - or more accurately a remix of it - a music choice that is not only bafflingly anachronistic, but also feels …wrong? That song was written for and made famous via Eight Mile. It is specifically tied to that film. So unless you’re parodying or referencing it, you shouldn’t use that song. They might as well have scored the trailer to the song Eminem did for Venom, the lyrics of which as far as I recall are “Venom… ren-ren-ren-ren-renom” and then something about “denim”. But I digress.

Now very quickly let me tell you something that almost no one knows about: The secret origins of the minions! They were obviously inspired by one single moment in Gus Van Sant’s My Own Private Idaho which finds infamous character actor Udo Kier wearing big goofy goggles and riding a cyclopic yellow motorcycle in the desert. Here I present to you the genesis for minionkind:


Is this a coincidence? A mere echoing of form and design that would, on a long enough timeline, all but HAVE to reemerge? Maybe. Or maybe Udo Kier is the alpha minion; the omega minion. Cut me a check, Universal/Illumination!


8th

Thor Love & Thunder (dir. Taika Waititi)
Where: in theaters

Picking up where we last left him, Thor has shed his Avengers Endgame weight (a second training montage!) and found that his once kinda-girlfriend Jane Foster (Natalie Portman) is now actually Thor, or at least she’s the current wielder of the mighty magical hammer Mjolnir and therefore now possesses all of its powers and responsibilities. Weird timing because who should show up but some yassified Uncle Fester named Gorr (Christian Bale) who’s got a grudge against all gods (in the comics, his sobriquet is “the God Butcher”) and is going to endeavor to wipe them all out.

Marvel Comics have always had an odd, anything goes approach to theologies, with most being explained as “they were aliens who primitive humans worshiped and called gods” so it’s not surprising to me to see that other pantheons of space-gods will be showing up. Notably, Zeus as played by Russell Crowe. Tessa Thompson’s Valkyrie and a bunch of the Guardians of the Galaxy also seem to be appearing. This God Butcher storyline comes from a comparatively recent run of the Thor comics that was pretty well received but will obviously have to be handled a little differently in the movie for brevity of both time and content.

I like Taika Waititi. He seems like a decent guy, he’s a snappy dresser, he stands up for marginalized people, and he makes fun movies. He kind of single handedly revived the MCU’s Thor franchise after the floundering of The Dark World by injecting color and humor into things (and not just the snarky, tryhard cleverness that has become Marvel’s house style). Therefore I look forward to seeing Love and Thunder.


13th

What We Do In the Shadows: Season 4 (series)
Where: Hulu

Returning for its fourth season, What We Do in the Shadows promises to somehow be even crazier than in previous seasons. This show, based on the 2014 faux documentary horror comedy from Jemaine Clement and Taika Waititi, has only gotten more complex and it builds on centuries of (often conflicting) vampire lore, while also creating its own. That’s not a bad thing by the way, because of the show’s breezy tone and deft hand at catching the audience up (the faux documentary format allows for characters to directly address the camera, which helps).

This season promises horndog Laszlo (Matt Berry) attempting to raise the now toddler-aged energy vampire Colin Robinson (played by Mark Proksch as an adult, and maybe also by him as this kid?) and make him “the most interesting adult there has ever been”, which is just patently not how it works for energy vampires. Meanwhile Nadja (Natasia Demetriou), who I believe is still head of the vampire council (?), opens a nightclub in an attempt to lure wealthy humans to feed on because “(they) are like veal; conceptually repulsive but so buttery on my tongue”, and warrior/wife-guy Nandor (Kayvan Novak) is on his quest to find a new wife that includes magically resurrecting his previous 37 wives, aided by his manservant and default bff, the great vampire killer Guillermo (Harvey Guillén).

This is a favorite show of my house, Mt. Mausoleum. We will be watching.


15th

Paws of Fury: The Legend of Hank (dir. Mark Koetsier, Rob Minkoff, Chris Bailey)
Where: in theaters

Though this computer animated samurai tale starring anthropomorphic animals voiced by some of Hollywoo’s most notable voices isn’t directly adapting any one thing, it further underlines the connection between the so called far east and wild west by being inspired by Mel Brooks’ Blazing Saddles! That’s right. Westerns have always shared a lot of DNA with tales of samurai or ronin - they’re both about dangerous warriors, sometimes loners, who have strict moral codes and are guided by honor, usually in contrast to the villains of their tales, who hunger for power and money.

But it’s still w-i-l-d that Brooks’ 1974 parody of the western genre is the basis for this story about a wimpy dog (Hank, voiced by Michael Cera) who must train (a THIRD training montage!) with a once great samurai (Samuel L. Jackson) to defend his town against bad dogs. It brings to mind (MY mind, anyway) the problem of video game movies. The draw of a game like Tomb Raider was that it was LIKE Indiana Jones, but you could play it at home, the same way Mortal Kombat was similar to something like Bloodsport. But then when you try and translate these things back to the format that inspired them, they just feel trite. I guess we’ll see how universal the tropes and clichés of film westerns are when applied through the milieu of samurai story AND animated talking animal farce. Well, somebody will see, but I’m not personally very excited for this beyond the oddity of its origins.

Where the Crawdads Sing (dir. Olivia Newman)
Where: in theaters

Though I’ve never read Delia Owens’ 2018 novel on which this film is based, it was covered on a special bonus episode of the Disney Deviants podcast, which I’d be remiss not to mention (I *am* podcast czar afterall). The story follows Kya (Daisy Edgar-Jones) a.k.a. The Marsh Girl who, as some narration from David Strathairn informs us, was abandoned by her family and lived alone in the marsh, shunned by the local non-marsh townies. Despite this, she grows up to be very clean and pretty with all her teeth and whatnot and she even has a potential romance with some generic handsome guy. BUT. A murder happens in the swamps and she’s to blame, since she’s a weirdo outsider.

This looks perfectly fine. I love the uncommon setting for this kind of thing; it looks like it’s set mostly in and around the actual swamp, as opposed to being swamp-adjacent and the direction/cinematography in the trailer is very lovely, so if you see this at least it’ll be nice to look at if nothing else. The trailer has a song called “Carolina” playing throughout that, despite sounding like Lana Del Rey to me is apparently a brand new track from Taylor Swift. I’m bookmarking this flick mentally and eagerly await its arrival on a streaming platform, because while I think I’ll enjoy this one, it’s not enough for me to actively seek it out.

Also, I am disappointed to announce that there does not seem to be a training montage of any kind (in that Kya seems to learn how to do stuff on her own, without the aid of a mentor) thus breaking the streak (WWDIS got a pass because it’s a series).

Mrs Harris Goes to Paris (dir. Anthony Fabian)
Where: in theaters

Y’know what I hate in a movie trailer? When a character makes a joke that’s (probably) funnier in the context of whatever scene it’s in, and then the trailer editor cuts to characters laughing in some completely different scene. It’s fucking insulting. As though whoever has final trailer approval thought “if we don’t show people laughing, the audience won’t know it’s ‘funny’”. It’s the same theory as those sitcoms that use pre-recorded laugh tracks and fuck them too.

That’s how the Mrs. Harris Goes to Paris trailer (based on the 1958 novel by Paul Gallico) ends, with the titular cleaning woman from London (played by Lesley Manville) saying that Mr. Dior (of the Dior clothing empire) “looks like (her) milkman”. Presumably whoever had final say on the trailer thought “We better add laughs or else they’ll think that’s a dramatic reveal?” as though we’d think that maybe there would be a third act reveal that Christian Dior (again - French fashion designer) was moonlighting as a milkman in London, a distance of 520+ miles. Because we’re idiots?

Anyway, the plot of this movie is essentially that episode of Simpsons where Marge finds a Chanel suit on a crazy discount and her chic look helps get her and her family invited into Springfield high society. Mrs. Harris (Manville) is a cleaning woman in London during WWII patiently awaiting the return of her husband from the war. One of her patrons has a beautiful and very expensive Dior dress which ignites a fanaticism in Mrs. Harris, so when it is revealed that her husband had died and that she should have been notified long ago, and been collecting her war widow benefits, she decides to use the money (a gift, she feels, from her beloved dead husband) to go to Paris and buy a Dior dress.

Of course the hoighty toighty French Dior employees try to upper crust her right out on her ass before a gentleman (who I believe is played by Lambert Wilson, but don’t hold me to that) invites her to be his personal guest. Things after that seem to get a little bit The Devil Wears Prada, with Mrs. Harris being privy to the inner workings of the Dior company while also doling out life advice and maybe finding love?

This looks super cute and, similarly to Where the Crawdads Sing, I’ll be awaiting the day I can watch it from my couch but I’m not itching to get my Mrs. Harris on.

29th

DC League of Super-Pets (dir. Jared Stern, Sam Levine)
Where: in theaters

In the comics, last I checked (admittedly not that recently) the Legion of Super-Pets were a group of DC animals that were connected to the Superman family of titles and characters. There was Krypto the super dog (Superman’s dog on his home planet of Krypton who Superman’s scientist dad shot into space to test the escape rocket that would eventually save baby Superman’s life), Beppo the super monkey (who had stowed away in baby Superman’s rocket), Streaky the super cat (Superman’s cousin Supergirl’s pet cat who was exposed to some rare kryptonite that gave it superpowers) and Comet the super horse (which, strangest of all was a former centaur now in an all horse body). Later there was also a shape-changing alien named Proty 2.

When I first heard that they were planning on making an animated family comedy with Rock ‘The Dwayne’ Johnson voicing Krypto, I was (no pun intended) super excited because: c’mon! Go re-read all that crazy shit I typed above! There’s so much goofy/weird Superman lore in there and THEN there’s a horse that used to be a centaur! I couldn’t wait to see them explain all this and work it into some kind of continuity (even if it was just for its own sake and wouldn’t be part of a larger DC cinematic universe).

But alas, they have elected to instead create a bunch of easier to understand new characters, all from the same pet store and with the same origin (something also involving a kryptonite shard). They all get discrete superpowers: a turtle that’s ironically fast, a pig that gets big, a different dog that is also indestructible, and an electric squirrel. The plot appears to be a guinea pig (in both senses of the word: a rodent from the species which originated in the Andes that has apparently been used in scientific experimentation) named Lulu which has used kryptonite to weaken and kidnap Superman and only faithful dog Krypto (Johnson) and his ragtag group of pet shop refugees can save him.

Good voice cast in this one, though. Aside from The Dwayne, there’s his ubiquitous real life buddy Kevin Hart, Vanessa Bayer, Natasha Lyonne, and Diego Luna as the Super Pets, Kate McKinnon as Lulu, John Krasinski as Superman, Keanu Reeves as Batman, and apparently Marc Maron as Lex Luthor (who I would presume to be behind the who Lulu kidnapping Superman plot).

This looks fun enough, but I’m not gaga over it. It is unclear from the trailer if there will be a training montage, but I’m keeping my fingers crossed. And hopefully if this gets a sequel, they’ll introduce Supergirl and her weirdo pets. I want to watch them to explain that Super horse to kids.


SPOTLIGHT
Raves from the EOINA grave

What We Do In the Shadows (seasons 1 - 3) (series)
Where: Hulu

I can’t recommend WWDIS enough. If you haven’t seen it, you should check it out. The movie from 2014 seems to only currently be streaming through Kanopy, but it really isn’t a necessary part of the prep for the series. It’s great and I love it, but very little of it carries directly over. Instead watch the first 3 seasons, all available on Hulu, and get to know the ever-expanding cast of characters. Aside from the main stars, last season added Kristen Schaal as an aid to Nadja in her vampiric council duties and previous seasons have featured tons of guest stars and strange characters including vampire dogs, sentient puppets, and half a Doug Jones ancient vampire Baron. It’s wild, funny stuff that is also quite sweet. I literally can’t recommend it enough, but it does get a little complicated as the series rolls along, so I strongly recommend a series re/watch to prepare or refresh yourself before the new season hits.


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Thank you as always for reading and thanks to MovieJawn for hosting and posting. If you’d like to check out the Hate Watch/Great Watch podcast, which I co host with fellow Jawnie Allison Yakulis, we have two episodes which exemplify the diversity of the films we are willing to cover. First on July 13th we have an episode on the truly abysmal Foodfight! (2012) famous for its troubled production, followed by an episode on Gus Van Sant’s 1991 Shakespearean update My Own Private Idaho (the origin of the minions!) dropping on July 17th!

I hope July is a better month for us all than June was but no matter what happens, I’ll be back with a new column next month for August’s releases. See you then!

Until next time - Long Live the Movies!



This piece was written for MovieJawn, a fabulous site where you can find tons of other excellent movie-centric writings, a shop where you can subscribe to the quarterly physical zine, or listen to me on the  Hate Watch / Great Watch  podcast! Support the MovieJawn Patreon here!

Saturday, July 9, 2022

"ELVIS" (2022)

Elvis (2022)
Directed by Baz Luhrmann
Written by Baz Luhrmann, Sam Bromell, Craig Pearce, and Jeremy Doner
Starring Austin Butler, Tom Hanks, Olivia DeJonge
Running time: 2 hours, 39 minutes
Rated PG-13 for drugs, language, “suggestive material”, and smoking
In theaters June 24th

By “Doc” Hunter Bush, Podcast Czar


I don’t mean to brag, but I feel I’m uniquely qualified to be the one who reviews Baz Luhrmann’s Elvis Presley biopic simply titled with the mononym of the King of Rock and Roll. It’s not because I was raised in part by a father who loved Elvis, which can’t be THAT unique an experience. Nor is it because I have found myself becoming MovieJawn’s defacto ‘Elvis Guy’. Is it perhaps because on the Hate Watch/Great Watch podcast - which I cohost with fellow Jawnie Allison Yakulis - we’ve covered ALL of Baz Luhrmann’s previous films? No; not entirely, though that DOES help. I, dear reader, am uniquely qualified to review this film because, some time in the mid-2000s, I spoke to Elvis Presley on the telephone.

But I’ll get to that later.


Baz Luhrmann is a tough director to pin down. He has no specific hard and fast style, instead having some themes and directorial and storytelling “tricks” that he has refined over the course of his career. He celebrates theatricality and performance, has a flair (no pun intended) for visual excess, and he loves love. He handles big emotions better than big set pieces, and better than many directors of his tier. When you lay it all out like that, his tackling Elvis on the big screen makes all the sense in the world.

Elvis Presley made his first records at the age of 18 and passed away at only 43, and for the vast majority of his adult life was one of, if not THE biggest musical entertainer of all time. He was targeted by segregationist and/or prudish politicians, and taken advantage of by his manager Col. Tom Parker (ne Andreas Cornelis van Kuijk) a carnival huckster and lifelong conman, and it’s Parker (played by Tom Hanks) who is the prism through which Luhrmann chooses to view Elvis’ life.

The first five minutes of Elvis is …A LOT. Colonel Tom Parker is at the end of his life and reminiscing, which itself is an interesting inversion of the traditional biopic structure, succinctly parodied in Walk Hard with the line “Dewey Cox needs to think about his whole life before he goes onstage”. But it’s this near-death experience where Luhrmann unleashes his love of visual excess with both barrels. Tom Hanks is in, I kid you not, Goldmember-caliber old man makeup, scampering through an abandoned casino, surrounded by flashing lights and haunted by spinning roulette wheels while the camera shoots impossibly around neon Las Vegas signage. This is what the average filmgoer thinks of as Baz Luhrmann’s style, and while these moments are relatively rare, and well spaced across the nearly 3 hour runtime, they are excessive. But if you can’t handle excess, I can’t imagine what you’d be doing at a biopic about Elvis Presley.


Baz Luhrmann’s bag of tricks are used better here in Elvis than maybe anywhere else in his oeuvre. The film of his that this feels most like is his last, The Great Gatsby (2013). The similarities are there: the story of a larger-than-life man (fictional in Gatsby’s case) told from the perspective of a trusted outsider, both films are unafraid to take big swings tonally and both have well-chosen moments where Luhrmann will visually let the tiger off the leash. Both films approach music in similar ways as well, mashing up era-appropriate tunes with modern samples and motifs, but in Elvis’ case the music almost never stops. It’s a brilliant choice for a movie attempting to cover as much ground as Elvis is because in lieu of stopping dead in its tracks to deliver Elvis songs (which are a must), Luhrmann turns most of the music performances into montages set to whichever song(s) are being performed, allowing him to appease the audience’s sonic expectations while also propelling the story forward.

Austin Butler is a very good Elvis. His physicality is impeccable, his vocal impression is top tier and, mayhap most shocking to general moviegoers - he’s quite a solid actor! He holds his own against Tom Hanks, whose makeup-aided transformation is not always quite as bad/jarring as during the film’s opening, who is delivering a solid and surprisingly nuanced and empathetic performance. It is abundantly clear that Col. Tom Parker, the self-described “Snowman” (where “snow” means “cash”), is manipulating Elvis and his family and that he knows he is, but Hanks makes it obvious that the Colonel doesn’t view himself as a villain so much as a parasite. He’s getting something more from his partnership/stewardship/friendship with Elvis than Elvis is aware of, but he’s also facilitating Elvis’ fortune. In his eyes it’s a mutually beneficial relationship. This, I feel, is the famously villain-shy Hanks’ entry point into the character: he may be bad, but he doesn’t really know it.


Neither of these are my favorite performances though. That completely worthless praise (cuz who do I think I am?) goes to Olivia DeJonge as Priscilla Presley. In any of the handful of scenes she’s in, she absolutely delivers, telling you more about her character than twice as much exposition could have. In her first scene we instantly understand how she, among all the girls Elvis has encountered, captured his attention; she’s quick and assertive and she likes him without seeming starstruck. You see in her interactions with Butler how much they mean to each other and, eventually, how hard the King’s unraveling hurts her and in turn how much the loss of her takes its toll on him. Somehow this performance, the smallest of the three leads, is the one I would earmark for an Auspicious Award™ (if Auspicious Awards™ weren’t a bunch of hogwash - Sidebar: Should MovieJawn have our own, unconditionally non-hogwash awards? Would y’all wanna watch that? Sound off below!).

Beyond delivering a visually engrossing - at times overstimulating - film that absolutely delivers a fresh and modern-feeling take on a familiarly iconic story, Baz Luhrmann uses Elvis’ life to examine race in America and the ways in which politicians manipulate tensions to suit their ends. Elvis is just the spoonful of sugar that he’s using to help make this particular lesson easier to swallow. Elvis, like all biopics I’d wager, is hyperbolic at times but Luhrmann is only getting better and more refined as a director with each film. After making Strictly Ballroom (1992), he’d become known in America with Romeo + Juliet (1996) followed by Moulin Rouge! (2001), both stylistically excessive. In 2008 he’d attempted to curtail those tendencies with the somewhat unbalanced Australia before making the aforementioned Great Gatsby in 2013. Gatsby felt like an evolution in Luhrmann’s style, the at the time best-yet marrying of subject and sensibility. Until now. After seeing Elvis I’m at a loss to imagine what he could tackle next that would feel more of a perfect match for his signature flair. Elvis is a high water mark in a storied career that I cannot wait to see continue. See it safely at your earliest convenience.


The Time I Spoke to Elvis:

Yeah baby. I once, oh so briefly, worked as a telemarketer (until the establishment burned down on Christmas Eve, but that’s another story entirely) and, anyway: I spoke to Elvis. I didn’t know it was Elvis when I dialed the number of course. When you work a job like that, you just get a list of phone numbers to call and a script for whatever you’re selling or asking. In my case, we were polling people on detergent brands. So anyhoo, one day I’m making my calls and eventually someone picks up and boy howdy does this dude sound exactly like Elvis, even just from however he answered the phone. But the way these telemarketing gigs work, you can’t stop once you have even the slightest bit of momentum. You get, essentially “points” for each segment of a call you get through. There’s the initial “Hello (sir/madam) my name is (your name) and I am calling from (company)” block, then you give them the pitch of the call. In this case, we were reading off pairs of detergent brand names and asking the subject to pick one from each pair. If they don’t hang up, then you have to actually do it and it’s quite long, frustratingly long many would say. Then if you make it through the whole shebang and they’re still on the line, you’ve gotta ask them for their personal info - which, and I cannot state clearly enough that I DO NOT KNOW what they did with that information (above my pay grade) - and if you can get ‘em to give you a name, location and age you (or in this case me) get extra “points” which can mean a bigger paycheck.

So. I get through the first bit of my spiel, and I lay out the pairs of brand names conceit. He agrees and off we go. Due to the nature of the quiz, most of this man’s answers are monosyllabic because most laundry detergent names are: All! Biz! Gain! etc., but I’m still thinking “This mf’er sounds like Elvis!”. About ⅔ of the way through the quiz, he stops me and says “Hey kid, is this gonna be much longer? I’m about to make dinner.” and after that comparative soliloquy, I am 100% certain beyond a shadow of a doubt that I’m talking to the King. I give him a “I’ll go as fast as I can sir. It’d really mean a lot if you could just finish this with me.” He agrees and I continue. He starts just saying “First one” over and over and sounding a little more frustrated each time. So I’m trying to figure out: how can I get him to show his hand? How can I let him know that I know? Before I know it, we’re done with the quiz and now I have to ask him for his personal information. I explain that this is the last bit and that he can give me initials or whatever he wants, but it looks a lot better for me if he’d answer. He sighs, but agrees and on instinct alone I skip the name part. His location he says is Tennessee (later I check the area code and that tracks), he says his age is 69 (nice) and when I ask him for his name or initials he pauses, then says “L.V.” (eL Vis)! I am, as the kids say these days, shook but this is my moment. There’s silence for a few seconds before I regain my composure and tell him “I appreciate your time sir.” and then I drop the hammer: “You’re the King.” and when I tell you that the line was so silent that I could hear the old fashioned rotating fan he had on in the background before he finally responds. And I’m sure you know what he said.

“Thank you. Thank you very much.”


Lovin’ with Luhrmann

The Hate Watch/Great Watch podcast examines the films of Baz Luhrmann:

Wednesday, July 6, 2022

How to Start Watching: Elvis Movies

How To Start Watching:
Elvis Movies

By “Doc” Hunter Bush, Podcast Czar


The thing about these How To articles is, there really isn’t a  *wrong*  way, as long as you achieve what you set out to do: get into watching “Elvis Movies”. So I guess the important question is: What do YOU mean by “Elvis Movies”? Because there’s Elvis the man, and then there’s Elvis the icon, and those are two very different milieus of cinema.

If you’re looking to get into Elvis the man, the performer, actor, singer; just know that the movies won’t have a hugely obvious variety, though the more you look the greater a breadth you’ll find. Elvis Presley, the young man from Memphis by way of Tupelo, Mississippi will have that same endearingly mushy accent no matter who or what he’s portraying on screen. He’ll be named Rusty, or Clint, Lucky, Deke, Mike twice, Johnny twice, even Tulsa, and he’ll be playing a lot of young men returning from war, or working men with a side job as a musician and a dream of stardom. He’ll be soft spoken, charming, respectful, romantic, and have a personal code. He’ll stand up for himself, and his lady, and whatever’s right. And most importantly, he’ll sing.

If you’re more interested in Elvis the icon; in how he has continued to be represented; in the shadow he has cast across not just pop culture but culture period, you’re gonna get a lot of… for lack of a better term: goofy shit. Straight-up Goof Troop stuff. It’s easy to make fun of the King: he was, for a variety of reasons, a caricature of himself at times. A mama’s boy, a karate enthusiast, an emotional eater, a man with a drug problem exacerbated by those around him and the pressure to continue being The King of Rock and Roll.

You’re also gonna get a lot of aliens. Thanks to the Weekly World News (think FOX News by way of The Onion), the concept that Elvis had faked his death to live a quiet life away from the public got all mixed up with their other frequent cover story fodder: UFOs, resulting in a lot of “Elvis is an alien”/“Elvis is living with the aliens” gags.

He also inspired an entire culture of parody (or, the argument could be made, homage) in the form of Elvis impersonators. There are annual competitions to crown the best Elvis impersonator. Japan had gangs of Elvii, who would hang out and just be Elvis; no trouble, no nonsense, just a buncha folks doing a group hang dressed as various iterations of Elvis. That’s legacy, baby.


Elvis the performer:

I’d start at not quite the beginning, but damn close: Elvis’ third film, 1957’s Jailhouse Rock. The first Elvis song I knew, the earliest “music video” I could remember, those iconic images of E in the striped shirt on the avant garde jail set rocking out all come from this flick. Elvis plays Vince Everett, a young man convicted of manslaughter who makes friends with his cellmate Hunk (Mickey Shaughnessy) and once they’ve both served their time, sets off to start a music career. He meets Peggy (Judy Tyler) and the two eventually start a record label after Vince has a hit song stolen by a music industry bigwig. Vince and Peggy keep not quite hitting it off, and have a falling out as Vince’s celebrity and ego grow in equal measure. Though the film culminates in a happy ending, the fact that there is actually a lot of story meat on that bone always pleases me.

Further Recommendation: If you dig bad boy Elvis, try Roustabout (1964)


Flaming Star (1960) sees Elvis giving what I believe is still his most critically praised performance playing Pacer Burton, a mixed race Texan rancher caught between two worlds when the local Kiowa tribe, his mother’s people, attacks his town. Elvis still performs songs, but they’re less of a focus, allowing Elvis to really act in a much more layered way than usual. It’s a little slower and more serious, but is a genuinely good movie and watching it, you can easily see a different world where Elvis made a life for himself as a genre actor. Also - and this crosses over into Elvis as icon - an image from Flaming Star was used by Andy Warhol to produce several pieces including Eight Elvises.

Further Recommendation: If you dig cowboy Elvis, try Charro! (1969)


For my money, you could do worse than 1962’s Girls! Girls! Girls! which is just as fun as it sounds while actually being not nearly as shallow as it sounds. Elvis plays Ross Carpenter, a day trip sailor (who moonlights as a singer, natch) who learns that his boss is retiring and decides to try to muster the funds to buy the boat he sails on and make his fortune. He’s also caught between two women played by Robin Ganter and Laurel Dodge respectively, one who keeps him at arm’s length and the other who is wholly gaga over him. This one is silly, funny and showcases Elvis the ladies’ man - which is an undeniable part of his life and legacy.


Further Recommendation: If you dig loverboy Elvis, try Live a Little, Love a Little (1968)


Elvis the icon:

If you’re interested in the lasting cultural footprint of Elvis Presley, what better place to start than a biopic? How about a damn good one: 1979’s John Carpenter-directed Elvis, starring Kurt Russell as the titular man, and featuring the great Shelley Winters as his momma, and Pat Hingle as manager Col. Tom Parker. It’s a nice bit of sensationalism anchored by solid performances and great filmmaking. The only hurdle with it for me was the made-for-TV, commercial break pacing but that’s not insurmountable. Who doesn’t love a built-in pee break?

Further Recommendation: if you like the biopic approach, try Rock-a-Doodle (1991)


Don Coscarelli’s 2002 horror comedy Bubba Ho-Tep latches onto those Weekly World News headlines and imagines an aging Elvis Presley masquerading as an Elvis impersonator named Sebastian Haff (Bruce Campbell) in a retirement community fighting against a redneck mummy alongside a still alive JFK in the body of a black man (Ossie Davis). It’s absolutely bashit bananas (batnanas, if you will ) in all the right ways and, as an artifact of Elvis’ cultural significance, represents the common fans’ inability to accept the death of the King.

Further Recommendation: if you like the silly approach, try Heartbreak Hotel (1988)


Last but not least is the posthumous phenomenon of Elvis impersonators. With the possible exception of Michael Jackson, has anyone else inspired such a passionate niche group? There are Elvis impersonator competitions all around the world, and 2001’s 3000 Miles to Graceland aims to cash in on that subculture. Now, this movie isn’t what you might call “good” but it might scratch a certain Bad Movie Night itch; it doesn’t seem to ever decide if it’s a buddy comedy between likable criminals or a Tarantino knockoff with slightly less-likable ones. BUT. The cast is hard to top, especially in that era: Kurt Russell (again), Kevin Costner, Courtney Cox, Christian Slater, Kevin Pollack, David Arquette, Jon Lovitz, Howie Long, Bokeem Woodbine, Thomas Hayden Church, and Ice-T (among others) all appear in various roles, many of which are Elvis pastiches. It’s been a while since I’ve actually seen this one which, despite seeming like perfect streaming fodder, is rarely available.

Further Recommendation: if you like an Elvis impersonation, try Lilo & Stitch (2002)


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I hope I’ve been able to help you dip a toe into the world(s) of Elvis Movies, and I hope you find
something to enjoy. Elvis left a complex legacy in both film and culture at large. If you’re down with reading a little bit more of my thoughts on all things related to the King of Rock and Roll, I wrote about Danzig’s 2020 album DANZIG Sings ELVIS for MovieJawn, and you can read it by clicking right here.

Until next time, Long Live the Movies!