FAINT WAVES

My birthday is this week (the 25th), and as a gift to myself, I took some time off from work to catch up on projects, enjoy some free time, and hang out with friends. On Monday (yesterday as of this writing), I went to see a movie, which I don’t do nearly as much as I like despite enjoying the theater experience. I went to see EPiC: Elvis Presley In Concert, a combination concert and documentary film directed by Baz Luhrmann. While I’ve not seen all of Baz’s oeuvre, he came to prominence when I was a kid, so I’ve been aware of him for a very long time. His interpretation of Romeo & Juliet, directly adapted and yet wildly modernized and outlandish, is quintessential 90’s viewing. However, what cemented Baz as an auteur to keep tabs on for me was his take on The Great Gatsby. A marvelous, dazzling, stylish adaptation that resonated deeply with me, just as the book had when I read it in school. This sentiment was furthered with the glitzy musical fever dream that was Elvis in 2022. The film was a beautiful, trippy, fact-meets-fiction take on an American icon that was equal parts larger than life, complicated, and tragic. I thoroughly enjoyed the film and what Baz brought to it, a sort of glamour and spectacle that suited Elvis and his myth very well (particularly the ’68 Comeback Special and Vegas years). It wasn’t 100% perfect; I took issue with Tom Hanks and his performance as Colonel Tom, but it was otherwise great.

Fast forward a few years and in 2025, I see a trailer for something on YouTube, recommended to me completely out of nowhere. I’m unsure what it’s for at first; I’m thinking a special re-release, maybe a 4K UHD Blu-Ray or something to that effect for the die-hard fan. I get a lot of boutique release type stuff recommended, so that would’ve been par for the course. Imagine my surprise when I learn that it’s an altogether new film release, handled by Baz Luhrmann no less. I was interested from jump, simply from the quality of the restoration that had clearly been done. This was some immense work; it looked gorgeous and, frankly, important from a preservation standpoint. With Baz at the helm, I knew I wanted to see this and hoped my theater of choice would have it; you never know these days, especially with slightly more niche things like this. Sure enough, my theater was showing it in IMAX, and I was all-in. I may have been the first person in town with a ticket, honestly. The more I learned, the more intrigued I became; it’s the sort of mythic filmmaking stuff that makes the behind the scenes as interesting as the film itself.

According to Wikipedia, Baz originally sought out unseen footage of Elvis from Elvis: That’s the Way It Is and Elvis on Tour with the intent of using it in the 2022 Elvis film. Sixty-eight boxes of both 35mm and 8mm footage were found in the Warner Bros. film archives housed within salt mines in Kansas (yes, seriously, look that up—it’s a very weird and very real thing), including outtakes from both of the aforementioned films, plus the “gold jacket” performance from Hawaii in 1957. The footage, however, came without sound. None too small a problem. Over the next two years, it was restored and synced to existing audio sources by Luhrmann’s team. In addition, a 45-minute audio recording was also uncovered of Presley talking about his life story. All this material forms the basis of EPiC as a film. Luhrmann has described the project as neither fully a documentary nor a concert film, but “something new in the Elvis canon…that befits the magnitude of Elvis as a performer but also offers deeper revelations of his humanity and inner life”. All of this explains why Baz would follow up his hallucinatory biopic with a significant document of the life and live music of the man, the myth, the legend: Elvis. There was simply more to be done and I thank him for doing it. Without further ado, let me share my thoughts on the film.

Elvis Presley In Concert is best described as a testament, a document of Elvis as a performer and to a lesser extent, a man. He was often funny, goofy, entertaining, and yet, lonely. An extremely electric, charismatic entertainer who had quite an effect on people in his time, but a man who had a very insular and secluded existence (despite being surrounded by people/handlers/etc.). In many respects, it’s about that dichotomy; that is the through-line of the film. It feels at times that he left everything out on that stage, and when he did, there was nothing left. The film focuses a lot on his stint in Las Vegas and the rehearsals that went into that time. Early on, you can see that he’s in good shape and very much into what he’s doing. I think that was what Colonel Tom Parker exploited most about Elvis; he took advantage of Elvis’ drive to entertain and perform. If Colonel Tom had even just backed off a little bit, rather than keeping Elvis tied to the big money-making machine, I think Elvis could have made it 10, 15, or 20 more years at least. People forget that the man was only 42 years old when he died, at the beginning of middle age. Take away the constant, exhaustive performing and countless prescription drugs, and who knows what could’ve been. So, when I watch these performances, I’m struck by how brilliant and fun and engaging they are, but I’m also saddened because Elvis was like the most beautiful, powerful, awe-inspiring exploitation there ever was. A sad talking point in the film too is that Elvis never even got to perform outside of North America; his only time out of the country was when he was drafted, never for music. What a crying shame.

That isn’t to say the film is a negative experience; no, it’s merely colored by the very real tragedy that would eventually befall the man. In actuality, there’s a celebratory air to Elvis Presley In Concert, as you’re meant to be an additional audience member for a live show. It’s a wonderful example of his impact, and any moments of hysteria that weren’t sold to you in the biopic, well, you get to see them documented first-hand here. Also shown in rehearsal footage is Elvis’ understanding of arrangement and to a lesser extent, conducting. While some could argue the artistic merit of a singer who doesn’t write their own songs, a great counter-point is Elvis’ grasp of live music and entertainment. At multiple points, you witness him direct musicians and backup singers and toy with things in rehearsal. Elvis’ love of music, most any music he got his hands on, is also explored. In his own words, he talks about the many genres of music he’s enjoyed over the years, from many places (again, places he himself would never get to perform). This is illustrated best by the covers done during his live show, such as “You’ve Lost That Lovin’ Feeling” and “Get Back”; it let you know that he was aware of music outside himself and gave you an insight into what resonated with him, as well as what he knew would work live. He even incorporates “Get Back” into a medley with “Little Sister” and the two work wonderfully off of each other. It’s little things like this that not only show that Elvis was a great performer but also that he was an “artist” in his own way too. Live, none of it happened by accident; it took months of work and trial and error.

In closing, Elvis Presley In Concert is a lovely companion piece to Elvis (2022). With one, you get a surreal and moving take on Elvis’ story, blending fact and fiction into a hazy, stylish pleasure trip. With the other, you get a bit of Elvis for real, in his own words, behind the scenes, and live on stage. The creative DNA of Baz and one of his Elvis editors, Jonathan Redmond, is there, creating a cohesive experience between the two projects. The presentation and execution, while based in real life and using real footage, is also visually in line with the 2022 biopic. Worth mentioning too is the extremely compelling visual restoration and brilliant sounding audio, which have given the footage and music a completely new lease on life; you haven’t seen or heard Elvis like this. My personal connection to Elvis goes back to my mom and before her, my grandmother (who actually did get to see Elvis in the 70’s, his final tour began in my hometown). Worth mentioning too is my uncle, who made a living playing music locally and often covered Elvis, among others. While I can’t claim to be Elvis’ biggest fan, there is an heirloom appreciation I’ve inherited, and the older I get, the more I’m able to appreciate him as an icon, an entertainer, and an artist. My grandmother and my uncle are no longer with us, but they would’ve loved this film.

Thanks for reading.

~ FW.