First modification: Last modification:
Cannes (France) (AFP) – The 75th Cannes Film Festival is eagerly awaiting the landing of one of its favorite directors, Baz Luhrmann, with his film about Elvis Presley, and to entertain the public it called a luxury opening act, pianist Jerry Lee Lewis.
“Elvis” will be presented on Wednesday. It is a blockbuster in which Luhrmann, author of musicals such as “Moulin Rouge” and majestic adaptations of classics, such as “Romeo and Juliet” or “The Great Gatsby”, is a specialist.
Elvis’s granddaughter, director Riley Keough, present at Cannes, said she recently saw the film with her mother, Lisa Marie Presley, and grandmother, Priscilla Presley.
“There’s a lot of family trauma and generational trauma that started there.” Seeing him “was a very intense experience,” she said.
The film stars Austin Butler and Oscar winner Tom Hanks as Elvis’s manager, Colonel Tom Parker.
a serial villain
“Colonel Parker is a serial villain. A representative of artists of the old tradition, a rogue who enters the United States without a visa from Holland. He begins in the circus, in vaudeville or in the theaters of the lowest order. being Elvis’s manager,” Ignacio Julià, music critic and founder of the Spanish magazine Ruta 66, told AFP by telephone.
Jerry Lee Lewis always respected the figure of Elvis, whose music he discovered listening to the radio in his father’s truck.
But Colonel Parker had him “caged like a monkey,” the pianist launches in the documentary dedicated to him by filmmaker Ethan Cohen, presented at Cannes on Sunday night.
Jerry Lee Lewis (born 1935) embodies the wild side of southern white rock, with songs like “Great Balls of fire” and “Whole lotta shakin’ going on.”
Cohen, another Cannes fetish filmmaker, pays homage to him with a classic documentary, drawing on his legendary performances and bombastic statements.
“It was so much fun doing it (the documentary),” he explained to the audience, who applauded him at the end of the premiere.
Jerry Lee Lewis, who had a stroke three years ago and relearned to play the piano, “is quite the case,” Cohen added, laughing.
Cannes has a less glamorous relationship with rock than with Hollywood. But very long and fruitful.
It was on the Croisette that classics such as “Easy Rider” (1969), a hippie “road movie”, the rock opera “Tommy” by the British group Who, or “Gimme Shelter” (1971), a documentary about the unfortunate tour, were premiered of the Rolling Stones for the United States that ended in an unfortunate concert in Altamont, where a murder took place.
Ignacio Julià collaborated on a documentary presented last year at Cannes about the group Velvet Undergound, and shot by Todd Haynes.
The genre underwent a “quantum leap” with that documentary, well received at Cannes, and above all with “Get Back” by Peter Jackson, also in 2021, which immerses the viewer for seven hours in the rehearsals of the legendary group.
The modern mix of music makes it possible to recover sounds, improve recordings and images that seemed unrecoverable, Julià explained.
It is a time of change, since currently “all musical artists dedicate 50% more to their audiovisual facet. (The Spanish singer) Rosalía is not understood without her videos or her appearances on networks,” explains Julià.
“That exhibitionism of musical artists, so total, has another aspect, which is that of brutal self-censorship,” he adds.
In the case of the Beatles or the Velvet Underground, there are images that do not appear until their members begin to die, who kept those tests on a whim or disagreements with each other.
Cannes will also be the premiere venue for a visual essay on David Bowie, “Moonage Daydream,” by director Brett Morgen, who was able to access hundreds of hours of archives held by the singer’s estate.
© 2022 AFP