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Cannes, Cannes Film Festival

Baz Luhrmann’s Elvis Making World Premiere at the 75th Cannes Film Festival

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Posted by Larry Gleeson

Australian director, screenwriter, and producer Baz Luhrmann will be at the Cannes Film Festival to present the world premiere of his latest film, Elvis, along with Austin Butler, Tom Hanks, and Olivia DeJonge. Elvis will be released in North America on June 24, 2022, and worldwide from June 22, 2022.

Elvis focuses on the life and work of Elvis Presley (Austin Butler), through the prism of his complex relationship with his mysterious manager, Colonel Tom Parker (Tom Hanks).

 

AUSTIN BUTLER as Elvis and TOM HANKS as Col. Tom Parker in Warner Bros. Drama “ELVIS” Pictures, a film distributed by Warner Bros. Pictures. Photo courtesy of Warner Bros. Pictures

 

The story delves into the complex dynamic between Presley and Parker over more than 20 years, from Presley’s rise to stardom to his unprecedented stardom, as America experiences major socio-cultural upheaval and loses its innocence. At the heart of this journey is one of the most important and influential people in Elvis’ life, Priscilla Presley (Olivia DeJonge).

 

 

A flamboyant filmmaker, Baz Luhrman is the only director to present two feature films at the opening of the Cannes Film Festival with Moulin Rouge! in 2001, selected in Competition, and Gatsby the Magnificent in 2013. In 1992, he caused a sensation at the 45th edition of the Festival with his first film Ballroom Dancing, screened in the Un Certain Regard section.

Baz Luhrmann’s Elvis is being produced by Bazmark and The Jackal Group and will be distributed by Warner Bros. Picture worldwide.

 

#AFI, #AFIFEST, Hollywood

FILM CAPSULE: 42nd Street (Bacon, 1933): USA

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By Larry Gleeson.

Viewed at the AFI Fest 21012 the Egyptian Theatre in Hollywood, Calif.

42nd Street, a Vitaphone and Warner Bros. picture, directed by Lloyd Bacon, has stood the test of time as the epitome film about those who dream of becoming a star on Broadway. Long-time and highly successful director Julian Marsh, played by Warner Baxter, returns to produce a final Broadway show despite his poor health. The show’s financing comes from a wealthy older man, Abner Dillon, played by Guy Kibbee, who is in love with the leading lady and star of the show, Dorothy Brock, played by Bebe Daniels. But Dorothy’s not interested in his love, because she’s still in love with her previous partner. On the night before the show’s premiere, Dorothy breaks her ankle, and Peggy Sawyer, a novice chorus girl played by Ruby Keeler, tries to fill the role of the fallen star. Several subplots add an extra dimension giving a deeper emotional attachment to the main characters and a breath of originality to the old Cinderella story line.

As a viewer, look forward to lots of singing and dancing, especially toe-tapping, some excellent use of comedic timing and some highly imaginative mise-en-scene. Yet, also be prepared for a taste of the old backstage Broadway magic and excitement that seems to go hand-in-hand with Broadway shows not to mention, the debut of legendary and ground-breaking choreographer Busby Berkeley, and some rather catchy musical numbers like “Shuffle Off To Buffalo”, “You’re Getting To Be A Habit With Me”, and “42nd Street.” One of the beauties of the film is each musical coincides with an important story event.  “Shuffle Off To Buffalo” coincides with honeymooning in nearby Niagara Falls,  “You’re Getting To Be A Habit With Me” expresses Dorothy’s feelings for her new lover and the show-stopper “42nd Street,” gives the distinct melding of the elite to the underworld.

Technically, the film is in black and white print and cinematographer Sal Polito provides a very efficient, hard, unglamorous look to the film utilizing for extended dialog a two-person medium full shot extensively, makes good use of tracking shots to guide the viewer’s eyes and uses high overhead shots to showcase the intricacies of choreographer Busby Berkeley introductory work.

I’ve seen the musical “42nd Street” on stage several times and chose to see it on film at the Hollywood Egyptian as I’ve seen Rear Window (Hitchcock, 1954); USA and Lolita (Kubrick, 1962): USA on the big Egyptian screen during previous AFI Fests. All I can say is it’s a real treat and if anyone has the opportunity to see any of  the classics at the Egyptian I fully encourage it. Take a minute and check out the trailer. You’ll be happy you did!