Australian director Baz Luhrmann’s long-awaited dream of a biopic about the king of Rock’n’Roll, Elvis, has split Cannes in the middle between lively admirers and passionate critics.
Key points:
- Baz Lurhmann’s new film received a standing ovation for 12 minutes at Cannes from an audience that included Priscilla Presley, Shakira and Ricky Martin.
- The biographical film drew rave reviews from “dazzling, daring and moving” to “deliriously horrible.”
- Luhrmann said he was not discouraged by the criticism and more focused on the blessings of Elvis’ family.
The epic, which aired there Thursday (local time), features a star twist from young actor Austin Butler as the groundbreaking cultural pioneer and Tom Hanks as its exploitative manager, Colonel Tom Parker.
As one of the most popular entries this year at the world’s largest film festival, the film received a standing ovation for 12 minutes at the premiere, which was attended by Kylie Minogue, Shakira, Ricky Martin and the ex-wife of the late rocker, Priscilla Presley.
However, as the first reviews arose, the brilliant portrayal of an American icon and the best solo artist of all time divided Cannes.
Robbie Collin of the London Daily Telegraph called it “indecently entertaining” and set up a “big” box office this summer.
“Elvis Presley walking down 50s Beale Street to the sound of [American rapper] Doja Cat and Britney Spears-style singer Viva Las Vegas? “He said of the film’s musical mashups.” Man, it’s good to have Baz Luhrmann back. “
Oscar-winning Mexican director Guillermo del Toro tweeted that the film was “dazzling, daring and moving … I loved it. I loved it. I loved it.”
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“Deliriously horrible”
Kyle Buchanan of the New York Times said that fans of Luhrmann – the cheeky and extravagant director of Moulin Rouge !, William Shakespeare’s The Great Gatsby and Romeo and Juliet – would get exactly what they came for.
“Excessive, brilliant, silly, funny, ridiculous … sometimes all in the same five seconds. The only variables are lead actor Austin Butler, better than expected, and Tom Hanks, much worse,” he said. .
The Frenchman Le Figaro described it as a “departure from the conventional biopic”, while his “baroque touch does the rest” to please the public.
The image traces the king’s life from his filthy childhood in a black neighborhood in the deep segregated south to his later years, as well as drugs, like a swollen shadow of himself during a long residence in a Las Vegas hotel.
He focuses on the role of blues, gospel, and soul in shaping his music, portraying Elvis as a respectful and devoted admirer of black culture rather than a white exploiter. swindled.
(From left) Olivia DeJonge, Jerry Schilling, Tom Hanks, Austin Butler, director Baz Luhrmann, Priscilla Presley, Alton Mason, Natasha Bassett and producer Patrick McCormick. (AP: Invision / Vianney Le Caer)
In a scathing review, the American film website IndieWire focused on what it called its historic laundering.
“Martin Luther King Jr.’s murder is framed as something that happened to Elvis Presley in person and made him feel very sad,” wrote critic David Ehrlich, calling the film “horrible delirium.” .
The Guardian wasn’t impressed in the same way: “Curious but frantic, the Luhrmann epic isn’t key, and Austin Butler escapes with those blue suede shoes.”
Not a typical bad guy
At a press conference, Luhrmann said he did not bother to be criticized from time to time.
He said he was more concerned about the reaction of Elvis’ granddaughter Riley Keough, an actress and filmmaker who was screening her new feature film, War Pony, at Cannes, and Priscilla Presley. Both have given their blessing to the film.
“Criticism of anything you do, I’m used to it,” Luhrmann said.
“No criticism, no review would ever mean more to us than the review of the woman who was married to Elvis Presley.”
Hanks said he did not take on the role of Colonel Parker as a typical villain.
“I’m not interested in playing a villain just because of ‘Before I Kill You, Mr. Bond, Maybe You’d Like to Take a Tour of My Installation?'” He joked about the cartoon villains of the 007 movies.
“What Baz was tempting to me right away was, ‘Here’s a guy who saw an opportunity to show off a once-in-a-lifetime talent in a cultural force.’
“So credit to the colonel for doing this.”
AFP