that Elvis. The problem with Luhrmann, though, is one that at times rubs off on Luhrmann’s “Elvis,” which premiered on Wednesday at the Cannes Film Festival: The Australian director also has a lot of Colonel Tom Parker in him.
Parker was a showman, to be sure, a former carny who managed Elvis and steered him on a path where profit always took precedence over artistry.
And as Col. Parker (who was appropriately, neither a colonel nor born with the name Parker) says many times during “Elvis,” “All showmen are snowmen.” The Colonel was talking about himself, and to a lesser degree Elvis, but Luhrmann knows the snowshoe fits and he wears it proudly.
The film is part spirited homage to a titanic force in American music, delivered with the brio and extravagance of Lurhmann riffs like “Moulin Rouge!” and “Romeo + Juliet”; part sad cautionary tale of a quick rise and a long, slow decline; and part showcase for Austin Butler, who takes an impossible role and does a terrific job even though he, like everyone else on the planet, doesn’t really look like Elvis.
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