Follows Elvis Presley, featuring never-before-seen footage and recordings.
Chuck says:
While in the process of making “Elvis,” director Baz Luhrmann, was informed there footage shot for the concert films “That’s the Way it Is,” and “Elvis in Concert,” that had never been used. The problem was, no one knew where it had been stored. His production assistants began an extensive search in the MGM document archives and found there were 69 boxes of film sitting in a salt mine outside Kansas City where the studio stored thousands of cannisters of nitrate stock. Once the boxes were located, 59 hours of unseen footage of Presley was found, none of it having been seen by the public.
After two years of restoring the film and tracking down missing sound tapes that had been misplaced, the end result is “EPIC: Elvis Presley in Concert.” The movie, like other concert films, reminds us of the live-wire energy Presley had on stage, but more importantly, provides an intimate look at the man behind the image. Luhrmann and editor Jonathan Redmond have honed the treasure trove of footage down to a tight 90-minute movie that, at times, is overwhelming. However, unlike so many modern, action epics, the film never comes off as an assault on the viewer, but rather an immersion of all things Elvis, an experience as close to seeing him in concert as today’s fans are likely to get.
The filmmaker’s approach is enthralling from the start. The first ten minutes consists of archival footage from Presley’s early days, showing him preforming as a newcomer on local stages before graduating to larger venues and the movies. The editing of these scenes increases in speed, reaching a crescendo with the singer’s induction in the army, the whole process starting again with his return to civilian life, his resumption of his music and movie career and the rise of the British Invasion. All of this is underscored by raucous renditions of Presley’s early hits, this summation of the “story ‘til now,” a rousing preamble of what’s to come. That you’ll likely be rocking in your seat by this point should come as no surprise.
Glossing over the historic 1968 comeback television special, the movie jumps ahead to 1969, the singer seen in rehearsal sessions for what would be a precedent-setting residency at the Las Vegas International Hotel. It’s during these moments, as well as in clips from various press conferences that are interspersed throughout, that we see Presley with his guard down.
It’s obvious that, in watching his interactions with others, that stardom hadn’t changed the core values of the man. Whether speaking with fellow musicians, entertainment peers or his adoring fans, Presley is always polite and often self-depreciating. Here is a man with the world on a string, constantly in the public eye. Rather than seeming inconvenienced or impatient to be alone, we see him taking great joy in interacting with others. Never disingenuous, he’s genuinely engaged with whomever he’s talking to, not a shred of artifice on display. We see a man that, though committed to his work, is eager to have fun and put a smile on the face of anyone he encounters. His meeting with fans is most telling, Presley actually taking time during his concerts to walk through the audience, feeding off his their adulation. This symbiotic relationship speaks to the unique relationship the performer had with his followers, a devotion that endures long after his death.
While the initial concert scenes are moments from the opening night of his residency, as the film progresses, Luhrmann and Redmond begin to employ footage from other shows later in Presley’s career. While the singer’s enthusiasm remains, the strain of his constant performing becomes obvious. Seen exerting himself to the point of exhaustion repeatedly, we become witness to the legend wearing down before our eyes. That he was able to keep up the pace of two shows a day, six days a week over the course of five weeks is remarkable; that this schedule and its ripple effects would lead to his untimely death is not surprising.
Yet, “EPIC” does not dwell on these points; this is a celebration of Presley’s unique talent, showcased with reverence throughout. Whether tearing through “Hound Dog,” serenading the audience with “Can’t Help Falling in Love,” or pointing towards social issues with “In the Ghetto,” there’s a passion in the singer’s approach that’s captivating and infectious. Luhrmann’s admiration for his subject is obvious and his spreading the Gospel of Elvis is a mission he willingly embraces. “EPIC” will remind long times fans of why they first became enamored with Presley; if there any non-believers left, this film will likely convert them.
3 1/2 Stars
