This film magnificently captures the electric sexual energy of a poor white boy from the American south.  This was the exciting and hence dangerous energy that the establishment whites closely associated with African Americans and it frightened them.  They called Elvis “a white boy with black hips.” And they did not like it. Particularly, they hated to see good white girls lavishly enthralled by this energy. One white man called his music “voodoo devil music.”  That’s how dangerous it was. To them it harboured the irrational revolution of the youth against the old, and black against white.

Those like me who mainly remember only the late Elvis of the Las Vegas years and mild smarmy Hollywood movies forget what a revolutionary force he was in his youth. There was nothing like it and this film, and in particular the actor who plays Elvis, Austin Butler, brings it directly to us without filters or banisters. And it is excitingly thrilling. Butler must be considered a serious contender for best Actor and the film  for Best Picture. This film is a marvel of cinematic art that brought this young Elvis to us. I loved this film. I was surprised by this film. I don’t know what I was expecting, probably because, I like so many, remember most clearly the vapid Las Vegas Elvis who was by then a pale afterthought of the kinetic youthful Elvis.

A major character in the film is Colonel Tom Parker (played exceedingly well by Tom Hanks). Frankly, I knew nothing about the Colonel’s role in Elvis’s life, but that just shows you how little I knew about Elvis. As the Colonel said himself, “without me there be no Elvis, yet there are some who make me out the villain of this story.”  This film is brought to us through the eyes of that low class but powerful salesman who liked nothing better than to snow people, or worse. “Elvis was the showman; Parker the snowman.”  The Colonel snowed the public into buying the Elvis he created.

The Colonel deserved credit for seeing the potential of Elvis right from the start. He knew it by looking into the faces of swooning young women lost in the rapture of Elvis. It was like religious rapture and was saturated with sexual power. As the Colonel said about one of those  young women staring at Elvis, “She was having feelings she wasn’t sure she should be having.” These carnal delights however filled the white men of the south with deep fear. They did all they could to stop him and almost succeeded.  But Elvis’ energy could not be denied. Even his very religious mother came to see the light. As she said, “the way you move is God-given, so it can’t be bad.”

Elvis knew that he was “ready to fly.” He acknowledged that “if I can’t move, I can’t sing.”  The Colonel tried to rein in Elvis to make him presentable to stiff necked southern white men and that was a massive mistake, but who knows what would have happened if he had let Elvis loose. As a result, the Colonel allowed Elvis to serve his 2 years of mandatory Army service and come out of the war a clean-cut American kid. By then Elvis was ready for an array of  sun-cleaned and bloodless Hollywood films that made him a lot of money, but in my opinion, at the cost of his soul. Elvis strafed at the restrictions imposed on him by the Colonel including an NBC special where the Colonel contractually bound Elvis to sing a vapid Christmas song and Elvis revolted.

Fortunately, the film does not resolve these tensions on Elvis just as they were not resolved in his life. Elvis lived those tensions and they contributed to his early demise. Like so many rock and rollers, he died too young.

But he sure could rock and roll.