In our fiction-crazy world, there are narratives that may seem like they are miles apart. The truth is that with a little tweaking, they can coexist beautifully together.
The 2004 horror/action-adventure film, Van Helsing, uses Dracula and Frankenstein as a narrative base while adding new flavors and colors that do not exist in the original texts. The title character, Van Helsing (Hugh Jackman) is not the old man who some of us may remember from Dracula.
He is a monster hunter whose newest job is to stop Count Dracula (Richard Roxburgh) from using Dr. Frankenstein‘s (Samuel West) research and a werewolf for dangerous purposes. Joining him is Anna Valerious (Kate Beckinsale), who has her own reasons to prevent the Count from seeing his plan to completion.
This is one of those summer popcorn movies that does not require a lot of brain cells. But that’s ok. It is fun, entertaining, and takes characters that we think we know in new directions.
There are only a handful of artists who are known by a singular name. Their image and influence have permeated the culture in a way that everyone knows who they are and what they represent. Elvis Presley is one of these artists.
The new biopic, Elvis, hit theaters last week. Directed by Baz Luhrmann, the film stars newcomer Austin Butler as the title character and Tom Hanks as his manager with sometimes questionable intentions, Colonel Tom Parker. The narrative follows both of them from the early days of Presley’s career until his death in 1977 at the age of 42. The Colonel tells the story, casting himself as the manager who saw the potential of an unknown artist. As Elvis becomes a megastar, he faces criticism for his supposedly “wild race music” and its effect on the nation’s young people.
As the years pass and he becomes a has-been, Presley, and the Colonel pivot. After a very successful television special, he becomes a Las Vegas regular. But while his client is on stage, the Colonel is enriching himself. When everything comes to a head, Elvis has to choose between staying with his manager or trying to go his own way.
Though Butler does not look exactly like the King, he completely inhabits the man and the legend. Playing him from his teenage years until his early 40s, Butler is enigmatic and completely convinces the audience that he is Presley. Hanks, as usual, is up to the task. His character is a man who sees an opportunity and takes it, even if means crossing some boundaries.
What made the movie work for me was the man behind the icon. Presley was a devoted son to his parents, Gladys and Vernon (Helen Thomson and Richard Roxburgh). He was also madly in love with his wife Priscilla (Olivia DeJonge) and a devoted father to their daughter. He respected the black artists whose music he “borrowed” (depending on your perspective) from. What Luhrmann does brilliantly as a filmmaker is to point out that while African-American musicians of the era were largely ignored outside of their community, Presley made a fortune singing the same songs.
My only complaint is that the middle of the narrative could have been trimmed down a bit. Other than that, the film is incredibly good and definitely worth the price of a movie ticket.