Baz Luhrmann’s ‘EPiC: Elvis Presley in Concert’ Brings a Legend’s Stage Presence Into Startling Clarity With Stunning Scale

Alci Rengifo

Baz Luhrmann’s rapturous “EPiC: Elvis Presley in Concert” brings Elvis Presley the entertainer into stark clarity. Behind all of the famous, debauched, opulent and ultimately tragic stories, there was always this raw talent of an icon. Lurhmann’s concert film, doubling at times as a briskly insightful documentary, profiles a man who helped launch rock ‘n’ roll into the mainstream by feeling music in his bones nearly every waking moment. The famously stylistic Australian director had already dramatized the Presley story in his feverish 2022 biopic, “Elvis.” Clearly, he couldn’t shake off this most American of trailblazers. Combining previously unseen footage, restored to gorgeous quality, with other archival material, Luhrmann surpasses his previous effort with this joyful celebration that is breathtaking to behold when seen on IMAX.

Luhrmann has reportedly mined 69 boxes of film totaling 59 hours along with Super 8 footage found in the Graceland Archives. The 59 hours are unused content originally intended for the concert films “Elvis: That’s the Way It Is” and “Elvis on Tour.” Starting in the late ‘60s, the King was constantly performing in an astounding run of shows. A newly found recording of Elvis narrating his life is the story-framing device. Luhrmann blazes through some of the basics of the Presley saga early in the film, skimming through what most of the audience will already know about his early years setting the world ablaze, performing “Hound Dog” on Ed Sullivan, being drafted and making Hollywood movies. The narrative then shifts focus primarily to Presley’s famous Las Vegas residency that lasted from 1969 to 1976. Luhrmann cuts between performances onstage before a rapacious audience and footage of Presley rehearsing with the band. 

By allowing us to glimpse between the dynamic public deliveries and private rehearsals, Luhrmann and editor Jonathan Redmond craft a record that shows the very development of a show. “EPiC” is a love letter to Presley, never broadening its scope to cover the darker side of what was going on during this period in the singer’s life. No delving into the pills, affairs or rocky marriage with Priscilla. Luhrmann probably assumes most of the initial audience already knows the stories. There is only a more ominous air in a brief montage of shots of Presley’s infamous manager, Colonel Tom Parker, popularly known as a semi-puppet master who dominated the singer’s life and kept him from touring abroad. Though Luhrmann avoids the melodramatic villainizing he pulled off with Tom Hanks in “Elvis.” This is the King’s show all the way through. 

On a technical level, “EPiC” is quite an achievement. On an IMAX scale, viewers can fully appreciate the lush colors and crisp imagery. The sensation is almost like being at the concert thanks to the equally astounding sound mix. As good as the film looks, what truly drives it forward is the momentum of Presley and the band performing. Luhrmann’s famous razzle dazzle editing is here, yet there are many moments where he just lets the frame be still and watch Presley as he barrels through “Burning Love” or Simon & Garfunkel’s “Bridge Over Troubled Water” in his white or blue (depending on the night) jumpsuit glory. During rehearsals, defining “cool” in his chrome aviator sunglasses and psychedelic print shirt, Presley jokes with the band or delivers heartfelt covers of the Beatles’ “Yesterday” and “Something.” Sure, the King had his vices, but in these moments he comes across as an artist who genuinely loves to sing with his fellow musicians. The well-mannered Tupelo, Mississippi boy also shines in press conference moments intercut with the songs, where Presley shows off his charm with reporters. When asked about his thoughts on Vietnam and antiwar protesters, he declines to comment but he also supports the right of other artists to speak out.

Music has always been integral to Baz Luhrmann’s work, going back to his feature debut, “Strictly Ballroom,” through extravaganzas like “Moulin Rouge” and “The Great Gatsby.” His 1996 “Romeo & Juliet” has a soundtrack that virtually frames the musical landscape of the decade. This may be his greatest music-driven work yet. There is no need for fancy cutting when Presley moves to the rhythm of stage lights during “Tiger Man” or sings a soaring rendition of the classic hymn “How Great Thou Art.” There are smaller moments that say so much as when he flirts with his Black backup singers on stage or chats about rock ‘n’ roll emerging out of the gospel and rhythm and blues he would hear at church as a boy. The audience also becomes virtual characters with hilarious, crazed close ups of faces in tears, women rushing the stage to give Presley long kisses or begging for his touch. Beneath the glitz of the Vegas lights, one gets the full sense of why those who define an art form provided an almost religious experience to fans. Luhrmann briefly acknowledges the singer’s world beyond the stage during “Always On My Mind,” intercutting shots of Priscilla and an infant Lisa Marie Presley, who would meet her own tragic fate. The music does all the talking for what we already know will happen years after these performances end, captured so well in Sofia Coppola’s “Priscilla.”

You don’t even have to be a big Elvis Presley fan to enjoy “EPiC.” Go see it on the largest screen possible just to take in the experience. Drink in the lush colors and let yourself be thrilled watching one of the greats, soaked in sweat, displaying precisely why he was so great. When Presley performs the Righteous Brothers’ “You’ve Lost That Loving Feeling,” he makes the song completely his own. Every song is done with genuine passion by a man who clearly only really felt alive on that stage. In a press conference moment, Presley admits he would miss all the fame and adoration if it disappeared because it has become such a natural part of his life. Luhrmann closes before the end credits with a spoken word piece by U2’s Bono, originally recorded for the experimental album “Original Soundtracks 1” with Brian Eno. A line of the piece states, “Elvis ate America before America ate him.” This stunning concert film tells that tale, confirming why Elvis Presley defined so much of what we’re still listening to.

“EPiC: Elvis Presley in Concert” releases Feb. 20 in IMAX locations and expands Feb. 27 in theaters nationwide.