1 00:00:00,240 --> 00:00:03,520 Speaker 1: Break the Flick with Benoshe on ninety. 2 00:00:03,240 --> 00:00:05,600 Speaker 2: Six A m oh Well, a couple of weeks ago, 3 00:00:06,000 --> 00:00:09,520 Speaker 2: we all went to see this together. I certainly have 4 00:00:09,600 --> 00:00:12,160 Speaker 2: sung its praises since Austin Butler. 5 00:00:12,240 --> 00:00:13,080 Speaker 1: He is Elvis. 6 00:00:14,000 --> 00:00:15,600 Speaker 3: Do you even need me to review this one? 7 00:00:15,680 --> 00:00:16,880 Speaker 1: Or it's to do? 8 00:00:17,320 --> 00:00:18,200 Speaker 2: That's all I've said. 9 00:00:18,200 --> 00:00:19,600 Speaker 1: I've been leaving for. 10 00:00:19,640 --> 00:00:22,040 Speaker 3: You because normally, normally I'm the only one who's seen 11 00:00:22,079 --> 00:00:24,000 Speaker 3: the movie, so you just you just have to take 12 00:00:24,040 --> 00:00:26,160 Speaker 3: my word for it. But this time around, you've seen 13 00:00:26,200 --> 00:00:27,960 Speaker 3: the movie as well. Of course we're talking about bas 14 00:00:28,000 --> 00:00:31,240 Speaker 3: Lehrman's Elvis. Feel free to argue if you want, but 15 00:00:31,680 --> 00:00:35,920 Speaker 3: I would be judging you. He'll be critiquing. But I 16 00:00:35,920 --> 00:00:38,560 Speaker 3: think the most important thing when it comes to figuring 17 00:00:38,560 --> 00:00:40,519 Speaker 3: out whether or not this movie is any good? And 18 00:00:41,360 --> 00:00:44,000 Speaker 3: I can't remember another film where more people, more friends 19 00:00:44,000 --> 00:00:47,120 Speaker 3: and family, people who follow me on social media have 20 00:00:47,240 --> 00:00:49,839 Speaker 3: messaged and said is it any good? Like that's the 21 00:00:49,880 --> 00:00:52,560 Speaker 3: one thing that everybody wants to know, because bas Lherman, 22 00:00:52,960 --> 00:00:55,920 Speaker 3: he's a polarizing director, right like, you either love him, 23 00:00:56,200 --> 00:00:58,760 Speaker 3: concern you love him, or you hate him, and I 24 00:00:58,800 --> 00:01:01,080 Speaker 3: don't think there's much in between. Right like, you either 25 00:01:01,120 --> 00:01:04,400 Speaker 3: appreciate his aesthetic, which is more is more be too much? 26 00:01:04,440 --> 00:01:04,880 Speaker 2: Sometimes? 27 00:01:04,920 --> 00:01:08,400 Speaker 3: Yes, yeah, likes he takes a blank canvas, uses every 28 00:01:08,440 --> 00:01:11,920 Speaker 3: color in the paint boxes, then bedazzles the canvas and 29 00:01:11,959 --> 00:01:15,400 Speaker 3: then rolls it in glitter and sofect. That's that's kind 30 00:01:15,400 --> 00:01:19,160 Speaker 3: of bad definition. That's bad and so and I would 31 00:01:19,200 --> 00:01:20,880 Speaker 3: say when it comes to this film, if you're thinking 32 00:01:20,880 --> 00:01:23,400 Speaker 3: about it, like if you liked Mulin Rouge, if you 33 00:01:23,560 --> 00:01:26,080 Speaker 3: like The Great Gatsby, I think you'll love this. I 34 00:01:26,120 --> 00:01:29,040 Speaker 3: think you'll really love this film. If you like Elvis, 35 00:01:29,120 --> 00:01:32,039 Speaker 3: I think you'll like this film because, as you mentioned 36 00:01:32,080 --> 00:01:36,640 Speaker 3: Austin Butler, he is Elvis. He becomes Elvis, but can't 37 00:01:36,640 --> 00:01:39,040 Speaker 3: fault him. But on the other hand, if you're not 38 00:01:39,240 --> 00:01:42,880 Speaker 3: into bas Lehrman's vibe, I don't think this is the 39 00:01:42,880 --> 00:01:44,240 Speaker 3: movie that's going to change your mind. 40 00:01:45,440 --> 00:01:46,080 Speaker 2: No, you're right. 41 00:01:46,200 --> 00:01:48,160 Speaker 1: It's very busy, especially the start of it. 42 00:01:48,840 --> 00:01:50,880 Speaker 3: And this is the thing, right, So, so he tells 43 00:01:50,880 --> 00:01:53,800 Speaker 3: this story from the perspective of Colonel Tom Parker, which 44 00:01:53,880 --> 00:01:57,040 Speaker 3: is played by the great Tom Hanks, and people remember 45 00:01:57,080 --> 00:01:59,840 Speaker 3: the colonel as Elvis's manager. He was always a kind 46 00:01:59,840 --> 00:02:04,040 Speaker 3: of enigmatic, mysterious figure for very good reasons, and you 47 00:02:04,040 --> 00:02:05,920 Speaker 3: find out during the film and also in real life, 48 00:02:06,000 --> 00:02:08,280 Speaker 3: like he was a dude who had a lot to hide. 49 00:02:08,960 --> 00:02:09,280 Speaker 1: He did. 50 00:02:09,360 --> 00:02:11,079 Speaker 2: I learned a lot about Tom pok I know, right, 51 00:02:11,760 --> 00:02:12,120 Speaker 2: but one of. 52 00:02:12,120 --> 00:02:14,040 Speaker 3: The big problems here. So you start off with with 53 00:02:14,120 --> 00:02:17,280 Speaker 3: Tom Parker kind of introducing himself and saying to the audience, well, 54 00:02:17,320 --> 00:02:19,119 Speaker 3: you know, like you might think that I'm the villain here, 55 00:02:19,760 --> 00:02:22,680 Speaker 3: but I didn't kill Elvis. I'm the guy who created Elvis. 56 00:02:23,120 --> 00:02:25,640 Speaker 3: And it kind of sets up the film as a flashback, 57 00:02:25,720 --> 00:02:27,960 Speaker 3: so going all the way back to Elvis's childhood as 58 00:02:28,000 --> 00:02:32,520 Speaker 3: a little boy growing up in Tupelo, Mississippi, and his 59 00:02:32,639 --> 00:02:36,440 Speaker 3: exposure to gospel music and kind of the you know 60 00:02:36,520 --> 00:02:40,519 Speaker 3: those kind of like rocking little jazz shacks with black music, 61 00:02:41,080 --> 00:02:43,440 Speaker 3: and how that inspired him to make the music that 62 00:02:43,440 --> 00:02:44,920 Speaker 3: he would as an adult. So you get a bit 63 00:02:44,960 --> 00:02:47,840 Speaker 3: of that. But the first ten minutes of this kind 64 00:02:47,840 --> 00:02:52,280 Speaker 3: of setting up this flashback, it's you know, sensory overload. 65 00:02:52,360 --> 00:02:54,440 Speaker 3: It like it's baz going. Do you know what in 66 00:02:54,440 --> 00:02:57,160 Speaker 3: the last thirty years since I made Strictly Ballroom, these 67 00:02:57,160 --> 00:02:58,680 Speaker 3: are all the things that I've learned as a director, 68 00:02:58,880 --> 00:03:00,600 Speaker 3: And I'm going to show you them all in ten minutes, 69 00:03:01,240 --> 00:03:03,440 Speaker 3: and it is too much. It is too much. At 70 00:03:03,440 --> 00:03:05,920 Speaker 3: one point everything becomes like a comed like a literal 71 00:03:05,919 --> 00:03:07,120 Speaker 3: comic book illustration. 72 00:03:07,360 --> 00:03:09,160 Speaker 1: But he's the kid in primary school. He's pushing too 73 00:03:09,200 --> 00:03:10,000 Speaker 1: hard on the crowd. 74 00:03:10,600 --> 00:03:13,320 Speaker 3: And it's it's too much. And I think, you know, 75 00:03:13,440 --> 00:03:15,320 Speaker 3: like if you if you're a big fan of bas Lehman, 76 00:03:15,360 --> 00:03:16,960 Speaker 3: you go, oh, you know, I love this, I love 77 00:03:17,000 --> 00:03:18,920 Speaker 3: all of this. But if you're not, and even if 78 00:03:18,919 --> 00:03:21,000 Speaker 3: you're just kind of a casual bas Leermon fan, like 79 00:03:21,080 --> 00:03:25,080 Speaker 3: maybe like Romeo and Juliet, like casual. So the first 80 00:03:25,080 --> 00:03:29,440 Speaker 3: ten minutes like it's borderline unwatchable, Like I felt that 81 00:03:29,520 --> 00:03:32,120 Speaker 3: it was. It was really really hard to sit through. 82 00:03:32,760 --> 00:03:36,360 Speaker 3: But thankfully it kind of you kind of lean into it. 83 00:03:36,360 --> 00:03:39,000 Speaker 3: Maybe Baz kind of beats you into submission, or it's 84 00:03:39,040 --> 00:03:40,640 Speaker 3: just that Austin Butler appears the. 85 00:03:40,640 --> 00:03:44,240 Speaker 2: Young Elvis scene as well helped me because that kid was. 86 00:03:44,200 --> 00:03:46,480 Speaker 3: All The kid was good the kids, And it's nothing 87 00:03:46,480 --> 00:03:48,520 Speaker 3: against the actors, it's just the direction is just a 88 00:03:48,520 --> 00:03:51,480 Speaker 3: bit over the top. And Ott that's bas Leermon right 89 00:03:51,760 --> 00:03:52,200 Speaker 3: in three. 90 00:03:52,120 --> 00:03:54,560 Speaker 1: Works, waiting for it to settle into a real movie. 91 00:03:54,160 --> 00:03:57,000 Speaker 3: And eventually it does when when you see Austin Butler 92 00:03:57,120 --> 00:04:01,000 Speaker 3: appear on stage as the adult Elva at his first 93 00:04:01,080 --> 00:04:03,920 Speaker 3: kind of big concert that the Colonel is witnessing after 94 00:04:03,920 --> 00:04:05,280 Speaker 3: he's already had a kind of one song on the 95 00:04:05,320 --> 00:04:09,680 Speaker 3: radio that's doing pretty good. And then that moment when 96 00:04:09,680 --> 00:04:11,960 Speaker 3: you see Austin Butler on stage is Elvis for the 97 00:04:12,000 --> 00:04:16,480 Speaker 3: first time moves and all the girls in the audience. 98 00:04:16,120 --> 00:04:18,320 Speaker 2: Starting pretty funny scene. 99 00:04:18,080 --> 00:04:20,920 Speaker 3: Like it is amazing, and it kind of really does 100 00:04:20,960 --> 00:04:23,760 Speaker 3: reinforce just like what, as the Colonel says in the film, 101 00:04:23,800 --> 00:04:26,240 Speaker 3: what an alien Elvis was at the time, like there 102 00:04:26,279 --> 00:04:29,840 Speaker 3: was nobody like Elvis. And then the movie kind of 103 00:04:29,839 --> 00:04:34,080 Speaker 3: finds its feet from there, and Austin Butler is incredible 104 00:04:34,160 --> 00:04:36,839 Speaker 3: as the young sort of hound dog Elvis of the 105 00:04:36,920 --> 00:04:41,039 Speaker 3: fifties through to the sixty eight Comeback Special Elvis and 106 00:04:41,120 --> 00:04:43,080 Speaker 3: all the way through to you know, the kind of 107 00:04:43,240 --> 00:04:46,880 Speaker 3: sad kind of sequin jumpsuit Vegas. 108 00:04:46,400 --> 00:04:49,240 Speaker 2: Elvis, which it doesn't dwell too much, doesn't dwell too 109 00:04:49,320 --> 00:04:52,520 Speaker 2: much good, but that first Vegas scene and. 110 00:04:52,760 --> 00:04:55,400 Speaker 3: The performances, and he sings a lot of the music 111 00:04:55,720 --> 00:04:58,400 Speaker 3: as young Elvis. He sings most of the songs older 112 00:04:58,400 --> 00:05:00,520 Speaker 3: Elvis because his voice is kind and it doesn't have 113 00:05:00,560 --> 00:05:02,600 Speaker 3: the same sort of timber as older Elvis. They used 114 00:05:02,640 --> 00:05:05,640 Speaker 3: the recordings, but Austin Butler certainly sings a lot of 115 00:05:05,640 --> 00:05:08,719 Speaker 3: the songs in this film. And then you've also got 116 00:05:08,800 --> 00:05:13,680 Speaker 3: a former PLC student, Olivia Priscilla. She doesn't have a 117 00:05:13,720 --> 00:05:16,279 Speaker 3: huge role, like I feel like she really could have 118 00:05:16,320 --> 00:05:16,640 Speaker 3: been in. 119 00:05:16,600 --> 00:05:18,760 Speaker 1: It more because such a pivotal character. 120 00:05:18,839 --> 00:05:22,080 Speaker 3: Pivotal character and also helps establish kind of the emotional 121 00:05:22,080 --> 00:05:24,520 Speaker 3: weight of the film because it's like what happens to 122 00:05:24,560 --> 00:05:26,720 Speaker 3: Elvis in his later life, like he died at forty two, 123 00:05:26,880 --> 00:05:29,400 Speaker 3: like when you think about it now, so ridiculously young. 124 00:05:30,240 --> 00:05:32,640 Speaker 3: A lot of that kind of emotional weight comes from 125 00:05:33,240 --> 00:05:37,240 Speaker 3: that relationship with Priscilla and you know, his daughter Lisa Marie. 126 00:05:37,400 --> 00:05:40,240 Speaker 3: And but it doesn't really get a lot of attention 127 00:05:40,279 --> 00:05:42,400 Speaker 3: in the film, and it focuses mostly on the relationship 128 00:05:42,440 --> 00:05:46,719 Speaker 3: between the colonel and Elvis. And and that's where I 129 00:05:46,720 --> 00:05:50,120 Speaker 3: think it focuses on Tom Hanks's accent, right, Like his accent, 130 00:05:50,560 --> 00:05:52,279 Speaker 3: A lot of people have talked about it before the 131 00:05:52,320 --> 00:05:54,920 Speaker 3: movie film at least, it's extremely. 132 00:05:54,440 --> 00:05:56,120 Speaker 2: Annormal, unfortunately the guy he's playing. 133 00:05:56,560 --> 00:05:58,360 Speaker 3: But that's the thing, right, so at the start of 134 00:05:58,400 --> 00:06:00,680 Speaker 3: the film, when you hear this accent, most people probably 135 00:06:00,680 --> 00:06:03,400 Speaker 3: think the colonel, Okay, he's like a Southern gent who 136 00:06:03,440 --> 00:06:06,640 Speaker 3: was a colonel? Why is Tom Hanks doing this weird accent? 137 00:06:06,720 --> 00:06:08,640 Speaker 3: And it's not until sort of three quarters into the 138 00:06:08,680 --> 00:06:10,880 Speaker 3: movie that you realize, hang, in a minute, he was 139 00:06:10,920 --> 00:06:13,440 Speaker 3: not a colonel, he was not American. He was not 140 00:06:13,520 --> 00:06:15,960 Speaker 3: even a Tom Parker, which is all a matter of 141 00:06:16,000 --> 00:06:17,720 Speaker 3: public records, so it's not a spoiler. 142 00:06:17,920 --> 00:06:18,839 Speaker 1: But he was a Dutch. 143 00:06:18,680 --> 00:06:21,400 Speaker 3: Bloke and now historians believe that he might have been 144 00:06:21,480 --> 00:06:25,680 Speaker 3: fleeing Holland to escape a murder rap. So like he's 145 00:06:25,680 --> 00:06:28,520 Speaker 3: a kind of a dodgy dude, right, And when you 146 00:06:28,560 --> 00:06:30,640 Speaker 3: realize all of that, you realize that, you know what, actually, 147 00:06:30,720 --> 00:06:33,640 Speaker 3: Tom Hanks is doing a perfect accent, absolutely spot on 148 00:06:33,720 --> 00:06:36,080 Speaker 3: to what Tom Parker sounded like. 149 00:06:36,680 --> 00:06:37,400 Speaker 1: We never heard him. 150 00:06:37,839 --> 00:06:40,640 Speaker 3: And so for some audience members it'll be hard for 151 00:06:40,680 --> 00:06:43,800 Speaker 3: them to kind of undo that, undo that thought, which 152 00:06:43,880 --> 00:06:46,200 Speaker 3: is a bit of a shame. But you know, even 153 00:06:46,240 --> 00:06:48,800 Speaker 3: if you don't like Baslohman, even if you can't get 154 00:06:48,800 --> 00:06:51,720 Speaker 3: your head around Tom Hanks's accent, you would go see 155 00:06:51,720 --> 00:06:54,600 Speaker 3: this movie to see Austin Butler, Like this is as close. 156 00:06:54,360 --> 00:06:56,440 Speaker 2: As you can get going for Austin Butler, I wouldn't 157 00:06:56,440 --> 00:06:59,440 Speaker 2: have loved it like I did. Yeah, but he cannot 158 00:06:59,440 --> 00:07:01,200 Speaker 2: take your It's about believability. 159 00:07:01,240 --> 00:07:03,200 Speaker 1: I thought of Elvis on the screen of an actor 160 00:07:03,200 --> 00:07:04,760 Speaker 1: all Austin. 161 00:07:04,520 --> 00:07:07,880 Speaker 3: Butler, he became Elvis Elvis and there's a scene, there's 162 00:07:07,880 --> 00:07:10,320 Speaker 3: a the Comeback Special. I think is a great sequence 163 00:07:10,400 --> 00:07:12,800 Speaker 3: because so much was writing on that from his career 164 00:07:12,840 --> 00:07:15,280 Speaker 3: point of view. But like I loved when he first 165 00:07:15,280 --> 00:07:18,320 Speaker 3: got to Vegas and he's he's with the big band 166 00:07:18,360 --> 00:07:20,480 Speaker 3: and he's talking about how to put the song together. 167 00:07:20,800 --> 00:07:23,480 Speaker 3: And then it goes into the performance and you see 168 00:07:23,520 --> 00:07:28,280 Speaker 3: the physicality of Austin Butler on stage. It's literal sweat. 169 00:07:28,360 --> 00:07:29,600 Speaker 1: Like I love bas Lehman. 170 00:07:29,760 --> 00:07:32,600 Speaker 3: Bas Lhrman is famous for doing a lot of takes right, 171 00:07:33,000 --> 00:07:35,760 Speaker 3: and so it's really giving him away. So he had 172 00:07:35,760 --> 00:07:38,880 Speaker 3: Austin Butler up on stage doing the whole thing, and 173 00:07:38,880 --> 00:07:42,840 Speaker 3: and that's real sweat, real exhaustion, and so you know, like, 174 00:07:42,960 --> 00:07:44,640 Speaker 3: I think that's that is why you'd see this me. 175 00:07:45,080 --> 00:07:47,520 Speaker 2: Okay, well, we are going to come back with your 176 00:07:47,520 --> 00:07:49,000 Speaker 2: interview with Tom Hanks and Austin Butler. 177 00:07:49,040 --> 00:07:56,400 Speaker 3: But firstting look bas Lherman. He does have some real 178 00:07:56,440 --> 00:07:59,360 Speaker 3: problems with how he's directed this film. But Austin Butler, 179 00:07:59,520 --> 00:08:02,280 Speaker 3: this is a performance for the ages. Like pencil him 180 00:08:02,280 --> 00:08:04,640 Speaker 3: in for an Oscar nomination. I'm giving this three and 181 00:08:04,640 --> 00:08:04,920 Speaker 3: a half. 182 00:08:05,000 --> 00:08:08,160 Speaker 1: Starts three and a half. Jumpsuits, yeah,