To tell Elvis Presley better than a movie Elvis An understatement.Never believing in understatement, Baz Luhrmann goes with the stereotypical rock star image of Elvis with a hammer and a thong to create perhaps the worst biopic of the iconic musician ever. We’re counting horror shows like bohemian rhapsody (Freddie Mercury biopic) and rocket man (Biography of Elton John).
By comparison, both immediately look like classics. Elvis.
Elvis, better known as Elvis The Pelvis, was a baby-faced sex machine. The girls apparently experienced an indescribable amount of emotion when Presley took the stage. Each time they pierced his pelvis, they fell into a sexual faint. Every word he uttered on stage sounded like an invitation to have sex.
You get all this in the movies. But not in a “handleable” way. All we see is what we get in the movies. The movement does not suggest an afterlife, a thrust beyond the thrust, so to speak. Austin Butler as Presley is not only problematic, but greatly hinders the effectiveness of the story.
At times, Butler seems to be limited by his desire to “be” Elvis. It looks like the rotation and flip are copied. This is a very Look Ma No Hands-like show-off performance.
Screen As far as killing Elvis, Butler definitely did it. There is an even more serious problem with this epic misfire. The most fatal error is pitching Elvis’ story in sync with his depraved and snarky manager. I have to say Tom Hanks make-up, as Elvis’ evil manager Tom Parker is definitely spot-on.
In a movie where nothing seems right, Tom’s Tom is something about Tom-Tom. Tom misleads cheating and embezzlement….yawn! Tell me something else. Why are musical stars most often trapped in business relationships with shady managers? We need a full dissertation on the subject.
As Tom Hanks‘ suffers from a cardboard villain, but the film has other pressing issues to deal with. The mood of the narration’s movements is spasmodic and unsettlingly psychedelic. It’s as if all the actors and technicians are affected just to experience what Elvis went through.
Nearly every relationship Elvis goes through is colored by a drug haze. His manager doesn’t allow him to enter any zone other than the run-of-the-mill jingling stage songs that get the girls (and the establishment) going wild. By the time Elvis fires his manager, it’s too late….it’s too late for Elvis, and for the film, to seek remedial action.
However, not all are washed away. I loved how Elvis got along with black musicians. It’s the only time Elvis is himself, free from Baz Luhrmann’s expansionist grand excursion and from the dank clutches of the actors who play him.
Elvis’ love for his alcoholic mother, Gladys (starring Helen Thomson), comes through director Baz Luhrmann’s Smoky Haze, a sex drug alcohol that centers around Elvis. Was Elvis Presley really he was the baby-faced Justin Bieber of the 1950s and his ’60s?I think this biopic misses the point. It stays at the shallow end of Elvis’ life and doesn’t explore further. For those of us who wanted to see what the real Presley was like, this is disappointing. This is more like hundreds of Presley spoofs than the real thing.
Gabriel Ranges stardust David Bowie’s worst nightmare has come true.if you’ve seen Rajkumar Hiraniof Thirty, you know what i mean stardust is just one of three recent biographical photos of the British bisexual rock-pop icon.
well, if stardust At the time, it’s believed that David Bowie’s flashy androgynous dress and act was his underlying boredom. The film cuts his one episode out of Bowie’s life with a blunt knife that leaves many uneven edges on the storytelling canvas. What is David Bowie? At the end of the movie, he remains as mysterious as Freddie Mercury in Bohemian Rhapsody or Taron Egerton in Bohemian Rhapsody. rocket man.
What made the music of these three rock legends forever inspire such monumental musical impulses that they are so enduring and popular that their songs still play in our heads and beds today? For all the disappointments, at least the biopics of Freddie Mercury Bohemian Rhapsody and Elton John Rocketman have original music for us to sing, even when the storytelling gets heavy-handed. There was a song.
in Star dust, No original David Bowie songs are used. Bowie’s family wouldn’t allow it. Perhaps they sensed how confusing this biographical photo would be. More than Bowie and his transformation into his twin persona, Ziggy Stardust, this biographical photo focuses on just how badly Bowie’s first trip to the United States went wrong.
Bowie’s entire experience in America, from being placed in the American manager’s guest room to having to play at private events where no one was listening, made David Bowie horrifying. A gruesome loser, a rock wannabe who doesn’t know where to fit in. Without context and connection, episodes of frustration and failure in America do Bowie a disservice more than the biographical photo purports.
Jena Malone Bowie’s long-suffering wife is a portrait of a troubled marital relationship. But without the original frenzy and singing, Flynn has been caught on the wrong foot.
Rolling Thunder Revue: The Story of Bob Dylan To Martin Scorsese (Netflix) does the legendary Dylan an excruciating disadvantage. This is a question I didn’t expect to see in a great Martin Scorsese movie. Why was this documentary made on the legendary Bob Dylan’s famous concert tour, for the love of Dylan? Or is it for the love of Dylan’s massive fan following?
It may sound blasphemous, but I had no idea what Bob Dylan was singing.non-truck blowing in the windI’m still riding on a four-legged forest cloud…with a cowboy angel on board” and “he only smoked my eyelids…and punched my cigarette” meaning If anyone has the answer, please share.
The Scorsese documentary made Dylan even closer to me. It evokes a collage of frames and images taken during a Dylan concert in 1975. At this time, I was told that something very relevant to American politics was happening (Nixon was the source of the friction). It reflects what was going on in the Nobel Prize winner’s mind while America was in turmoil.
In this film, Dylan is cryptic, stubborn, unyielding, and dogmatic. The image of Dylan on stage and Dylan backstage doesn’t speak to me at all. They tell me nothing about his character. There’s a long conversation between Dylan and the love of his life, Joan Baez. I heard it twice. But this genius speaks normal dialogue like song lyrics. So essentially we are ignorant. My friend, the answer may be blowing in the wind. But it doesn’t resonate with me. sorry.
Besides the sheer randomness of the material (i.e., who cares what happened during Dylan’s series of concerts in 1975?), there’s just one more thing to enjoy this enigmatically insane piece of work. One major obstacle is the sheer consistency of the opinions expressed. The show that talks about Dylan, his manager and co-musicians is awe-inspiring. But there is no true love in that hero-worshipping tone.
Is Dylan really the great artist he is? Much like Dylan’s lyrics, I was puzzled by the purpose of the film. I do not recommend it even to die-hard Dylan followers.
Unju Moons I’m female A special biopic of a very special musician. Let me confess my prejudice. I love not only the anthemic “I Am Woman,” but all of Helen Reddy’s hits that she grew up humming along with that enchanting raspy voice. For my generation, Helen Reddy is her THE WOMAN. Helen Reddy epitomized the female voice in the rock and roll movement, and back then women were only welcomed to the Billboard charts if they wore leather jackets and spiked boots.
Helen Reddy came to New York from Australia with a little daughter and big dreams. This is the story of her earning her iconic status in the world of pop music, her crowning glory, after being inducted into the Hall of Fame and Feminism with her anthem “I Am Woman.” is.
Luckily, the film is more than just an excuse to bring the evergreen song to the screen. It is a mirror of the female prejudices dealt with in the male-dominated American music industry in the 1970s and her 80s. When Helen Reddy (played brilliantly by Tilda Cobham-Harvey) arrives at a music producer’s office, the subtly sexist attitude is presented with maddening accuracy.
When she tells him she’s divorced, Dickhead replies, “What’s wrong, honey. Did he forget your birthday?
But this isn’t the film that flashes the Sisterhood’s enthusiastic badge.
Rather than torpedoing the story with marching tropes, I’m female In many ways, it focuses on women’s struggle to make their voices heard. As her manager and partner Jeff Waldo, actor Evan Peters reminded me of Vijay’s Anand’s Dev Her Anand. guideyes he uses her But then so is she.
Aside from Helen Reddy, played in looming brilliance by Tilda Cobham-Harvey, there are only two other major characters in the film. McDonald’s), and Helen was betrayed out of professional mistrust.
To those who grew up with the voice of Helen Lady I Am Woman It’s more than just a well-made biographical photo. Its all-encompassing humanism and applause – Reddy’s popular apt rendering of his song got me applauding and singing. Despite being a biopic of a woman breaking free from constant patriarchal prejudices, I Am Woman – borrowing a phrase from a song – is strong, unbeatable…
Subhash K Jha is a Patna-based film critic who has been writing about Bollywood long enough to know the Bollywood industry thoroughly. He tweets at @SubhashK_Jha.
https://www.firstpost.com/entertainment/first-take-a-lata-mangeshkar-biopic-is-required-but-look-at-what-they-did-to-legendary-musicians-in-the-west-11532091.html We need a Lata Mangeshkar biopic, but look what they did to the West’s legendary musician – Entertainment News , Firstpost