This is Elvis (1981)

Directed by: Malcolm Leo, Andrew Solt | 97 minutes | biography, music | Actors: David Scott, Paul Boensch III, Johnny Harra, Lawrence Koller, Rhonda Lyn, Debbie Edge, Gladys Presley, Larry Raspberry, Furry Lewis, Liz Robinson, Dana MacKay, Knox Phillips, Cheryl Needham, Andrea Cyrill, Jerry Phillips, Emory Smith

This is almost a docudrama. The narrative structure is nice; Elvis, his friends and family speak ‘himself’. This is true for a few people, but most of the voices, including of course Elvis’s own, are actors. It makes the story personal, but sometimes also a bit contrived. If you also consider that some ‘real’ scenes have been played and you don’t know which ones, the sense of authenticity gets a slight dent.

The content of ‘This is Elvis’ has been authorized by the relatives of the rock ‘n’ roll legend and that has its advantages. The filmmakers were allowed to use many private films that were undoubtedly owned by the Presley family themselves. This produces fascinating, personal footage that cannot be found in any other documentary about The King (especially in the 40-minute extended version from 1983). Juicy details may have been censored, but it doesn’t seem like it necessarily. Elvis’ alcohol, drug and other problems are not hidden. And even if that would have happened, Elvis’ attitude and especially his eyes speak for themselves, no words or explanation are needed, you can see that this man is not always so sure of himself. On stage he is lord and master, off it he is vulnerable and later in his career even a deep sadness seems to emerge in those eyes. Heartbreaking to see that look every now and then. And to see how a beautiful young man in the lust of his life transforms into a fat monster. It looks good on some people, that little bit of extra fat, but the vain Elvis feels, visibly, very unhappy about it.

It is not entirely clear how and why Elvis actually got into the drink and drugs and apparently did not feel well. It’s also hard to figure out. Perhaps a documentary should be made that examines and demonstrates why so many of his caliber (in music, in Hollywood and everywhere where great success seems to weigh on their shoulders like an almost unbearable burden) asked if let go under. In any case, one thing is certain, although it is never said in so many words: Elvis deteriorates after the departure of his great love Priscilla. This is also the moment he returns to the stage (flight behavior?) and then it doesn’t take long before the great man, who enchanted the whole world with his voice but couldn’t sing away his own sorrow, literally collapses. “Elvis has left the building.”