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Hello everyone, fellow fans of good stories, I hope you're doing great today. On this occasion, I want to share a new review with you. I'm going to talk about the Elvis movie. I'll be honest, I went in without expecting much... like almost everyone, I suppose: I knew the name, the face, and a couple of songs like "Hound Dog" or "Jailhouse Rock," but about the man behind the myth, I knew very little. My thought was: "what more are they going to tell me that we haven't already seen in a thousand cheap imitations?" Well, it turns out there was a lot, a whole lot more. This film, by the one and only Baz Luhrmann, throws it all in your face without any filter, like a rock concert in Las Vegas. It's a frantic, dazzling, and yes, at times a bit overwhelming journey, but you have to see it. The main reason, the heart that makes it all hold together, is Austin Butler. Forget everything else for a second. His job isn't to play Elvis; it's to straight-up resurrect him. I've spent my whole life watching people imitate Elvis, to the point where he's become a caricature, but what this guy does is on another level.
It's mind-blowing, incredible, and undoubtedly one of the best performances I've ever seen. It's not just that he looks like him or nails the accent; it's the gestures, the looks, the way he moves when he talks, the vulnerability you see in his eyes. You feel he has truly channeled Elvis, that he has become him. In the moments he's on stage, with that hip movement that scandalized half of America in the 50s, you believe it 100%. You don't see an actor playing an icon; you see the icon. Every time he was on screen, whether singing, acting, or just in silence, he had me glued to my seat. It didn't matter if the movie had other problems; he was the anchor that always hooked me back in. Now, let's talk about the difficult part, the "showman" of the story: Colonel Tom Parker, played by Tom Hanks. This is where the movie makes its riskiest decision and, for me, the one that fails the most. The entire story is told by the Colonel, his infamous manager. From the beginning, the film makes it clear: he is the villain, a textbook con man, a manipulator who narrates the events to try to make himself look good. Although Tom Hanks is, well, Tom Hanks, and his performance is good, the character at times borders on caricature.
Hola a todos, amigos fanáticos de las buenas historias, espero que estĂ©n super bien hoy, en esta ocasiĂłn, les quiero compartir una nueva reseña, les voy a hablar de la pelĂcula de Elvis, les soy sincero, entrĂ© sin esperar gran cosa.. como casi todo el mundo, supongo: conocĂa el nombre, la cara y un par de canciones como "Hound Dog" o "Jailhouse Rock", pero del hombre detrás del mito, sabĂa más bien poco.. mi pensamiento era: "ÂżquĂ© más me van a contar que no hayamos visto ya en mil imitaciones cutres?". Pues resulta que habĂa mucho, muchĂsimo más.. esta pelĂcula, del mismĂsimo Baz Luhrmann, te lo lanza todo a la cara sin ningĂşn tipo de filtro, como un concierto de rock en Las Vegas, es un viaje frenĂ©tico, deslumbrante y, sĂ, a ratos un poco agobiante, pero tienen que verla, la razĂłn principal, el corazĂłn que hace que todo se sostenga es Austin Butler, olvĂdense de todo lo demás un segundo. Su trabajo no es interpretar a Elvis, es directamente resucitarlo.. llevo toda la vida viendo a gente imitar a Elvis, hasta el punto de que se ha convertido en una caricatura, pero lo que hace este está en otra liga.
Es alucinante, increĂble, y sin duda una de las mejores actuaciones que he visto.. no es solo que se parezca o que clave el acento, son los gestos, las miradas, esa forma de moverse al hablar, la vulnerabilidad que le ves en los ojos. Sientes que de verdad ha canalizado a Elvis, que se ha convertido en Ă©l.. en los momentos en que está en el escenario, con ese movimiento de caderas que escandalizĂł a media AmĂ©rica en los 50, te lo crees al cien por cien. No ves a un actor haciendo de un icono; ves al icono.. cada vez que salĂa en pantalla, ya fuera cantando, actuando o simplemente en silencio, me tenĂa clavado en la butaca, daba igual que la pelĂcula tuviera otros problemas, Ă©l era el ancla que siempre me enganchaba de nuevo.. Ahora, hablemos del tema difĂcil, del "showman" de la historia: el Coronel Tom Parker, interpretado por Tom Hanks.. aquĂ es donde la pelĂcula toma su decisiĂłn más arriesgada y, para mĂ, la que más falla. Toda la historia nos la cuenta el Coronel, su infame mánager.. desde el principio, la pelĂcula lo deja claro: Ă©l es el villano, un estafador de manual, un manipulador que narra los hechos para intentar quedar bien.. aunque Tom Hanks es, bueno, Tom Hanks, y su actuaciĂłn es buena, el personaje a ratos roza la caricatura.
Look, the thing is, the Colonel feels like a comic book villain, you know what I mean? The kind that laughs in the dark. This approach, while interesting, steals the spotlight from Elvis all the time. Just when you're connecting with Elvis's problems, boom!, the camera cuts to a close-up of the Colonel, and the movie feels more like any other blockbuster than the deep biography it could have been. Don't get me wrong, the dynamic between them is fascinating, and I had no idea about the almost diabolical control this guy had over Elvis's life. But I felt that everything was unbalanced. I wanted to get more into Elvis's head and heart, not his manager's business. That brings me to the director, Baz Luhrmann. Look, if you've already seen Moulin Rouge! or The Great Gatsby, you know what you're in for. It's his trademark: the camera goes wild, the cuts are epileptic, everything is a visual bombardment with vibrant colors and effects that blind you. There are moments when this is genius. The concert scenes, for example, are spectacular—the way he cuts the shots, how he shows you the crowd's energy and Elvis's electricity on stage... there, form and substance come together brutally.
But at other times, especially at the beginning, it gets overwhelming, a bit suffocating. It's too much style for style's sake; the movie hardly ever stops to take a breath, jumping from one moment to another in a never-ending montage. It's a feast for the eyes, of course, but sometimes I was screaming for the camera to just stay still for a moment, to let us feel the moment with the characters without so much adornment. Now, the music... wow, the music! The music, people, is by far the best thing about the movie. So good! And it's not just a greatest hits album; the film does an incredible job of showing you where Elvis's music came from. You see how the guy grows up in a humble neighborhood, soaking up Black culture and music, going to churches and listening to artists who would mark him for life. I loved the twists they gave to some of his songs, showing how they were born and reinvented. But here I have a small complaint, something Luhrmann always does: inserting modern music, like hip-hop, into scenes from the 50s.
For some, this mix works. For me, it threw me off a couple of times. You're completely immersed in the era, and suddenly a modern beat starts playing. It's a risky decision, but in a movie about Elvis Presley, whose music defined an entire era, I felt it wasn't necessary. And something I loved, that pleasantly surprised me, is how the film tackles the issue of Elvis's relationship with African American culture. It doesn't shy away from the debate of whether he "stole" the music or not. On the contrary, it shows you an Elvis who grew up immersed in that culture, who loved and respected it. You see his friendship with people like B.B. King and how he always gave credit to the Black artists who inspired him, like Fats Domino. The movie portrays his courage in breaking the barriers of segregation in a super tense era. Seeing the hate he got for hanging out with Black artists or for his "indecent" dances gives you a real idea of how revolutionary he was. The guy had guts, and the movie shows it very well—that part of his personality, that refusal to see color in a world that was obsessed with it.
A ver, es que el Coronel se siente como el villano de un cĂłmic, Âżme entienden? Ese que se rĂe en la oscuridad.. este enfoque, aunque es interesante, le roba cámara a Elvis todo el tiempo.. justo cuando estás conectando con los problemas de Elvis, ¡pum!, la cámara se va a un primer plano del Coronel, y la pelĂcula se siente más como un blockbuster cualquiera que como la biografĂa profunda que pudo haber sido.. no me malinterpreten, la dinámica entre ellos es fascinante y yo no tenĂa ni idea del control casi diabĂłlico que este tipo tenĂa sobre la vida de Elvis. Pero sentĂ que todo estaba desbalanceado.. yo querĂa meterme más en la cabeza y el corazĂłn de Elvis, no en los peos de su mánager.. eso me lleva al director, Baz Luhrmann. A ver, si ustedes ya vieron Moulin Rouge! o El Gran Gatsby, ya saben a lo que vienen, es su sello: la cámara se vuelve loca, los cortes son epilĂ©pticos, todo es un bombardeo visual con colores vibrantes y efectos que te dejan ciego.. hay momentos en que esto es una genialidad. Las escenas de los conciertos, por ejemplo, son espectaculares, la forma en que corta las tomas, cĂłmo te muestra la energĂa de la gente y la electricidad de Elvis en el escenario… ahĂ, la forma y el fondo se unen de una manera brutal.
Pero en otros momentos, sobre todo al principio, la cosa te satura, te agobia un poco.. es demasiado estilo por el estilo, la peli casi nunca para a tomar aire, salta de un momento a otro en un montaje que no termina nunca. Es un festĂn para los ojos, claro que sĂ, pero a veces yo pedĂa a gritos que la cámara se quedara quieta un ratito, que nos dejara sentir el momento con los personajes sin tanto adorno. Ahora, la mĂşsica… ¡uf, la mĂşsica! La mĂşsica, gente, es por lejos lo mejor de la pelĂcula.. quĂ© cosa tan buena! Y no es solo un disco de grandes Ă©xitos, la peli hace un trabajo increĂble al mostrarte de dĂłnde venĂa la mĂşsica de Elvis.. ves cĂłmo el tipo crece en un barrio humilde, empapándose de la cultura y la mĂşsica negra, yendo a las iglesias y escuchando a artistas que lo marcarĂan para toda la vida. Me encantaron los giros que le dieron a algunas de sus canciones, mostrando cĂłmo nacĂan y se reinventaban.. pero aquĂ tengo una quejita, algo que Luhrmann siempre hace: meter mĂşsica moderna, como hip-hop, en escenas de los años 50. Para algunos, esta mezcla funciona.. a mĂ, me sacaba de onda un par de veces, estás completamente metido en la Ă©poca y de repente suena un beat moderno.. es una decisiĂłn arriesgada, pero en una pelĂcula sobre Elvis Presley, cuya mĂşsica definiĂł toda una era, sentĂ que no hacĂa falta.
Y algo que me encantĂł, que me sorprendiĂł para bien, es cĂłmo la pelĂcula le entra al tema de la relaciĂłn de Elvis con la cultura afroamericana.. no le teme al debate de si se "robĂł" o no la mĂşsica. Al contrario, te muestra a un Elvis que creciĂł metido en esa cultura, que la amaba y la respetaba.. ves su amistad con gente como B.B. King y cĂłmo Ă©l siempre les dio su lugar a los artistas negros que lo inspiraron, como Fats Domino. La pelĂcula retrata su valentĂa al romper las barreras de la segregaciĂłn en una Ă©poca sĂşper tensa, ver el odio que le tiraban por juntarse con artistas negros o por sus bailes "indecentes" te da una idea real de lo revolucionario que fue. El tipo tenĂa huevos, y la pelĂcula lo muestra muy bien, esa parte de su personalidad, esa negativa a ver colores en un mundo que estaba obsesionado con eso.
In the end, people, Elvis is a movie with its good and bad things, but let me tell you something: the good parts are so, so good that they make up for everything else. It's a total cinematic experience, one of those loud ones that blinds you with so much light and entertains you to the fullest. Look, I've already shared my complaints about how it's told and the crazy style, but even so, I couldn't help but smile like an idiot during the concert scenes and get goosebumps with his personal problems. I'm going to give it a 4 out of 5. No, it's not a perfect movie; the whole Colonel Parker thing sometimes pulls you out of the story, and Luhrmann's style can leave you fried. But Austin Butler's performance is so beastly, so incredible, that he alone elevates the film to another level. He, along with the insane music and the tremendous story of a poor kid who changed the world, make this a movie you have to see in a theater, no matter what. I left the cinema not just entertained; I left understanding the King of Rock and Roll much more and respecting him even more. And for that reason, with all its flaws, believe me, it's one of those movies that sticks with you for a long time. Well, that's it for today's review. Take care! Byebye!
Al final, gente, Elvis es una pelĂcula con sus cosas buenas y sus cosas malas, pero les digo algo: las partes buenas son tan, pero tan buenas, que compensan todo lo demás.. es una experiencia de cine total, de esas ruidosas, que te dejan ciego con tanta luz y que te entretienen a más no poder, miren que ya les tirĂ© mis quejas sobre cĂłmo está contada y el estilo tan loco, pero aun asĂ, no pude evitar sonreĂr como un idiota en las escenas de los conciertos y que se me pusiera la piel de gallina con sus problemas personales. Le voy a dar un 4 de 5.. no, no es una pelĂcula perfecta, el rollo del Coronel Parker a ratos te saca de la historia y el estilo de Luhrmann te puede dejar frito. Pero es que la actuaciĂłn de Austin Butler es tan bestial, tan increĂble, que Ă©l solito levanta la pelĂcula a otro nivel. Él, junto con la mĂşsica que es una locura y la tremenda historia de un chavo pobre que cambiĂł el mundo, hacen que esta pelĂcula sea una que tienen que ver sĂ o sĂ en el cine.. salĂ de la sala no solo entretenido, salĂ entendiendo mucho más al Rey del Rock and Roll y respetándolo todavĂa más. Y por eso, con todo y sus defectos, crĂ©anme que es una de esas pelĂculas que se te quedan grabadas por un buen rato, y bueno, hasta aquĂ la reseña de hoy, cuidense mucho! Byebye!
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