Elvis brings back another unique artist, director Baz Lurhman

Baz Lurman It has been nine years without offering us a feature film full of color, music and passions. The last time we enjoyed his stylistic display was in 2013 with the adaptation of F. Scott Fitzgerald’s novel, The Great Gatsby which won two Oscars for Best Art Direction and Best Costume Design. and again with Leonardo Dicaprio as desperately in love, this time with Carey Mulligan. Lurhman made the audience vibrate with his usual frenetic rhythm, not based on action, but on music, dance and color.

It was precisely with the face of the blond Californian with blue eyes that the Australian director became known throughout the world. Their Romeo+Juliet by William Shakespeare, released in 1996, was a real revolution. It packed theaters for weeks and schoolgirls’ folders began to be lined with the angelic, lovesick heads of Leonardo DiCaprio (Romeo) and Claire Dance (Juliet).

Claire Dance and Leonardo DiCaprio in Romeo+Juliet.
Claire Dance and Leonardo DiCaprio in Romeo+Juliet.

Claire hooked the success of the series is my life with this amazing adaptation that Lurhman, together with his main screenwriter, Craig Pearce, made of Shakespeare’s immortal work. Perhaps no one has dared to do something as revolutionary as what the Australian did with Shakespeare, mixing modern music and costumes with the classic dialogues of the English playwright’s characters.

Although Baz Lurhman had won over audiences and critics at Cannes with his first feature, Love is in the air (Strictly Ballroom), in 1992, and won the Youth Award there, it was not until Romeo + Juliet that his name resounded strongly in the cinematographic sphere around the world.

Moulin Rouge, in 2001, confirmed that his was not a creative stroke of luck but his own style, highly elaborated and matured that emphasized great musical numbers and romance. On this occasion, he took us to the bohemian Paris of 1900 and we followed in the footsteps of a star of the Moulin Rouge, a fantastic Nicole Kidman when his face still retained the most mundane facial expressions that he has lost along the way at the blow of a scalpel. Ewan McGregor he was the lover without a coin in his pocket who would fight for his love against a powerful duke. Two Oscar Awards rewarded Lurhman’s work in the categories of Best Art Direction and Best Costume Design. The same ones he wore for The Great Gatsby.

Between the two films, he surprised us with a story far removed from the musical tone: Australia. A visual love song to her land and with two Australians leading the cast, Nicole Kidman and Hugh Jackman. Again moving away from the present years, it took us to 1939 and crossed two opposite characters: a shallow English aristocrat and a rough-hewn rancher. The seed of love was already planted.

Nicole Kidman and Hugh Jackman in Australia.
Nicole Kidman and Hugh Jackman in Australia.

After work in television series and advertising, Lurhman has faced the challenge of delving into the figure of Elvis and his manager Tom Parker with a previous and laborious documentation work that is reflected in its more than two and a half hours of footage. “It’s the best part of making a movie. If I could only live from the documentation without stepping on the set or the editing room, I would do it. You become a detective because you want to get to the heart of the matter by being a scientist, but, in the end, you have to put on your playwright’s cap because you’re not going to make a movie that lasts 42 years”, he declared in an interview with the magazine frames.

This Friday, the cinemas welcome the new work of the Baz Lurman which is not only a new opportunity to succumb to the charms of an absorbing staging, photography and musical display, but also a unique opportunity to spy on the ins and outs of the relationship between a manager and his star. And, eye, what a star! Elvis has only been one: unique and unrepeatable. @opinionadas in @mundiario

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