People “come out to see some action,” says Elvis Presley about the appeal of his shows in EPiC: Elvis Presley in Concert. And that ethos—to deliver an over-the-top, dialed-to-11, 110%-effort extravaganza—is shared by Baz Luhrmann, whose new documentary is a thrilling tribute to the undisputed King of Rock and Roll.
Assembled from newly unearthed outtakes from 1970’s Elvis: That’s the Way It Is and 1972’s Elvis on Tour along with bountiful archival clips and audio of the superstar (in interviews and at press conferences) talking about the various facets of his life and phases of his career, this overpowering non-fiction work melds exhilarating performance and introspective biography with a flair befitting its subject.
A superb companion piece to the director’s 2022 biopic Elvis, it’s a feat of showmanship both by Presley on stage and Luhrmann behind the camera.
Kaleidoscopic production logos instantly establish that EPiC: Elvis Presley in Concert (February 20 in IMAX; February 27 in theaters nationwide) is of a piece with Luhrmann’s biopic. The Moulin Rouge! and The Great Gatsby auteur hits the ground running with a rapid-fire montage set to Elvis narration that covers much of his rise to glory, groundbreaking and controversial hip-shaking influence on American culture, WWII military service, and lengthy stint in Hollywood.
These restored still photos, concert snippets, and movie scenes boast a vibrant splendor, and the speed with which the director pieces them together is almost as scorching as Elvis’ charisma, which leaps off the screen no matter the period or venue.
Between his megawatt smile, charming sense of humor, and sexual vivacity, it’s impossible not to be blown away by Elvis in EPiC: Elvis Presley in Concert, and Luhrmann channels his grandness through majestic aesthetics. Whether he’s cross-cutting between studio sessions, rehearsals, and the stage at Las Vegas’ International Hotel, or attuning his concert sequences to the rhythm of Elvis’ arm-swinging, foot-stomping, body-gyrating moves, the filmmaker matches the King beat for beat, thrust for thrust, bellow for bellow.
Especially in IMAX, his documentary is an overwhelming experience, complete with a soundtrack whose refurbished audio is so crisp, clean, and dynamic that it continues to ring in the ears once the credits roll—not to mention highlights the deep, luxurious power of Elvis’ voice, which has never sounded better.
Decked out before his Vegas spectators (including Cary Grant and Sammy Davis Jr.) in a variety of high-collared red, blue, and white sequined jumpsuits, big-heeled boots, and glittering rings, and in the studio and rehearsal spaces sporting a collection of chest-baring Hawaiian shirts and spiffy sunglasses, Elvis is at the peak of his larger-than-life vitality in EPiC: Elvis Presley in Concert.
He’s at once calm, confident, and playful, the last of which is perhaps the biggest surprise of Luhrmann’s latest. Routinely joking around in between (and sometimes during) songs, he proves not just an outstanding singer but a peerless entertainer—a notion underscored by an interviewer’s question to him about his gift for “playing” the crowd.
Elvis runs through time-honored hits like “Hound Dog,” “Suspicious Minds,” “Burning Love,” and “In the Ghetto” in EPiC: Elvis Presley in Concert, as well as covers such as Simon & Garfunkel’s “Bridge Over Troubled Water,” the Beatles’ “Get Back,” and the Righteous Brothers’ “You’ve Lost That Lovin’ Feeling,” all of them transformed by rousingly original arrangements that, Luhrmann’s material makes clear, have been orchestrated by Elvis (as has every other detail of the shows, down to the lighting).
Far from a control freak, however, Elvis comes across as a gregarious and generous collaborator, praising his famous manager Colonel Tom Parker and having fun with his backing musicians and singers as they bang out tunes that never fail to elicit deafening roars of approval from his insanely enthusiastic audiences.
Elvis’ kindheartedness extends to his female fans, who habitually receive kisses from their idol during and after performances—a hilarious recurring sight that, in conjunction with close-ups of women screaming, weeping, and gawking at him with unabashed desire, demonstrates that even in the early ‘70s, the star hadn’t lost his unrivaled magnetism.
In less frenzied behind-the-scenes moments, he’s equally captivating, and Luhrmann enhances his feature through a series of lengthy soundbites that allow the artist to speak about his humble origins, his devotion to his mother (and the toll her death took on him), and his acclimation to the adoration he receives wherever he goes.
Couple that with his candid comments about his disappointment over his cinematic output, home movies of him with Priscilla and baby Lisa Marie, and footage of him being spirited away from throngs of hungry admirers, and EPiC: Elvis Presley in Concert provides a full-bodied (if brisk and footnote-y) view of Elvis.
While the director makes sure to touch upon various key aspects of Elvis’ life, his primary interest is celebrating his performative genius, and to that end, he presents multiple songs in virtually uncut form.
In those passages, Elvis’ red, sweaty face and constant movements suggest an almost superhuman vigor, and the fact that his energy never flags is a testament to his unerring love of his craft. There’s a joy to Elvis in EPiC: Elvis Presley in Concert, as well as to Luhrmann’s filmmaking, and at a certain point, form and content completely harmonize, turning the proceedings giddily euphoric.
Habitually up-close-and-personal, the film makes one feel as if they’re on intimate terms with the King—a member of his posse as he fine-tunes his numbers, fields queries at press conferences, hangs out backstage with collaborators, and shakes, rattles, and rolls with the fervor of a true believer.
EPiC: Elvis Presley in Concert is so ecstatic that it flirts with the spiritual, and not merely because it also briefly addresses Elvis’ lifelong fondness for gospel music—an inspiration that, like R&B, helped pave the way for his success.
Between this and 2022’s Elvis, Luhrmann is now the icon’s definitive chronicler, capturing his multifaceted magnetism with cinematic magnificence. Concluding with a stirring rendition of “Can’t Help Falling in Love,” then, is a fitting way to close out this exceptional concert film, since that’s precisely how audiences will once again feel after watching this portrait of the King in glorious action.
