Movies

Blu Dreams: How Michael Jackson’s This Is It could help Elvis fans [The Film Frontier blog]

/ TY

Many fellow Elvis fans seem to have tired of all of the recent comparisons with Michael Jackson. However, they should take notice of one Michael Jackson project. Filmed just days before Jackson’s death in June, This Is It opens in theaters and IMAX later this month.

Assembled from over a hundred hours of footage, the documentary captures rehearsals and other behind-the-scenes moments for Jackson’s concert engagement that ultimately was not to be. If This Is It turns out to be a big success, Jackson’s fans can expect to see even more of that footage in sequels or at least in an expanded version on Blu-ray with lots of bonus material.

Why should we Elvis fans care about this? Success for This Is It may well lead someone at Warner Home Video to finally wake up and remember that they are sitting on dozens of hours of valuable behind-the-scenes, rehearsal, and concert footage of another singer known as “The King.”

In 1970, MGM’s cameras filmed several rehearsals and concerts for his Elvis Summer Festival engagement at the International Hotel in Las Vegas. Released in November of that year, the resulting Elvis: That’s The Way It Is documentary was grand and captured Elvis in his prime–but left dozens of hours on the cutting room floor.

In 1972, MGM’s cameras rolled again, this time for Elvis On Tour, capturing rehearsals, behind-the-scenes, and concerts in March and April. The film went on to win a Golden Globe, the only Elvis movie so honored. Again, dozens of hours of footage were filmed but not used.

Since that time, we have seen a bit of these outtakes. In 1992, Warner released Elvis: The Lost Performances, an incredible one-hour VHS video that included outtakes from both films. In 2001, Warner released a new edit of That’s The Way It Is, containing so many outtakes and changes as to actually be a different film than the original. Though both were compelling, these projects were just the tip of the Elvis documentary iceberg.

Though both versions of That’s The Way It Is are available, Elvis On Tour and The Lost Performances never received DVD releases. Maybe we are unable to go back in time just yet, but Elvis fans should at least be able to experience these historic films and outtakes.

First off, the original versions of Elvis: That’s The Way It Is and Elvis On Tour should be fully restored in high definition and digital sound and released on Blu-ray (as well as DVD for those fans who have not yet upgraded), with top-notch bonus features.

Why stop there? Next, Warner should choose whichever That’s The Way It Is and Elvis On Tour concerts are most complete (not all were filmed in their entirety) and release them as separate, all-new concert experiences. Do not tag them as Elvis On Tour or That’s The Way It Is re-edits, just make completely new projects and leave the original documentaries to stand alone as accounts from the time. Most important, do not over-edit these concerts. Use Elvis’ original setlist and flow as much as possible.

Imagine if a That’s The Way It Is concert was given a full-fledged theatrical release, with an Elvis marketing blitz unheard of since his death. Just think about watching one of the That’s The Way It Is concerts on an IMAX screen.

Sure, theatrical and IMAX releases are long-stretches, but I think at least Blu-ray releases for Elvis: That’s The Way It Is and Elvis On Tour are real possibilities if Michael Jackson’s This Is It takes off.

A fan can dream, can’t he?

Disney goes Elvis [The Elvis Beat newsletter]

/ TY

I was 22 when I wrote this piece back in 1997 for The Elvis Beat #16, which turned out to be the final issue of my official Elvis Presley Fan Club newsletter.

To be released later this year, the new MGM/Walt Disney movie All Shook Up will feature a child who wants to be like Elvis when he grows up. “All Shook Up” was a number one hit for Elvis in 1957.

TRAIN still in station [The Elvis Beat newsletter]

/ TY

I was 22 when I wrote this piece back in 1997 for The Elvis Beat #16, which turned out to be the final issue of my official Elvis Presley Fan Club newsletter.

Last Train To Memphis, the movie version of Peter Guralnick’s definitive Elvis biography, has been put on hold, according to Elvis World magazine.

MGM videos re-released [The Elvis Beat newsletter]

/ TY

I was 22 when I wrote this article back in 1997 for The Elvis Beat #16, which turned out to be the final issue of my official Elvis Presley Fan Club newsletter.

MGM is re-releasing 18 Elvis videos on July 8 in “The Elvis Commemorative Collection.” All of the videos are digitally remastered and include their original theatrical preview trailers. Jailhouse Rock, Viva Las Vegas, Elvis: That’s The Way It Is, Elvis On Tour, and Elvis: The Lost Performances are among the titles.

Unfortunately, despite the effort to digitally remaster the films, the videos will only be available in the standard “pan & scan” format rather than widescreen/letterbox. Over one-third of the theatrical picture is lost when movies are adapted for viewing on television sets unless the widescreen format is used.

ELVIS 56 CD out now; LAST TRAIN TO MEMPHIS movie coming soon [The Elvis Beat newsletter]

/ TY

I was 21 when I wrote this article back in 1996 for The Elvis Beat #14, my official Elvis Presley Fan Club newsletter.

In March, RCA released a new compilation album, Elvis 56. As the title indicates, the CD features Elvis songs from the year 1956, including a previously unreleased alternate take of “Heartbreak Hotel.” [. . . .]

A movie version of Peter Guralnick’s book Last Train To Memphis: The Rise Of Elvis Presley is in pre-production stages, according to Elvis World magazine. Last Train To Memphis is the definitive book about Elvis’ early life and career, spanning 1935-1958. Guralnick is now at work on the second volume, covering 1959-1977.

The movie will be released in theaters, with filming to begin in Memphis as early as 1997. [. . . .] Jerry Schilling, long-time Elvis friend and associate of Elvis Presley Enterprises, has been hired as a consultant to the film. Schilling was co-producer of the excellent 1990 ABC television series Elvis, which also covered his early years. [. . . .]

Elvis World also reports that the movie will include the first release of “I’ll Never Stand In Your Way.” This is one of two songs performed by Elvis in 1954 on his second amateur record, which he paid to record at the Memphis Recording Service prior to being discovered.

Review – ELVIS AND THE COLONEL: THE UNTOLD STORY (1993) [The Elvis Beat newsletter]

/ TY

I was 18 when I wrote this review back in 1993 for The Elvis Beat #4, my official Elvis Presley Fan Club newsletter.

Elvis And The Colonel: The Untold Story (NBC), starring Beau Bridges, directed by William A. Graham, aired January 10, 1993.

Elvis And The Colonel: The Untold Story is a story that should have remained untold. Not only is this the worst movie ever made about Elvis, but this is also probably the worst movie ever.

The initial concept behind this television movie was actually a good idea – an examination of the well-documented mismanagement of Elvis’ career by Colonel Tom Parker. But the end result is an absolute failure.

Elvis And The Colonel is one big mistake after another. A listing of some of the many factual errors contained in this movie appears on page 5 of this newsletter.

The biggest mistake of all occurred in the casting department when Robb Youngblood was chosen to play “Elvis.” Youngblood does not bear the slightest resemblance to Elvis, so one can only assume that he was selected for his acting ability. The problem with that theory is that [. . .] at no time during the entire two-hour movie is he convincing as “Elvis.” [. . . .]

It is also obvious that no effort was made to make Youngblood look like Elvis. Throughout the 22 years of “Elvis”‘ life that this movie portrays, Youngblood wears basically the same hairstyle–even while in the Army. It looks awful and resembles none of the many different styles Elvis wore his hair in over the years.

Youngblood’s clothes in the movie look so cheap that even the local [discount store] would be embarrassed to sell them. Once again, they resemble nothing the real Elvis ever wore. The styles may have changed since his time, but Elvis never looked cheap the way Youngblood does.

All of these cosmetic problems could have been overlooked had Elvis And The Colonel been a good story but, as mentioned before, it is filled with errors. And even beyond those errors, the script is poorly written and the entire movie is poorly made. [. . . .]

Beau Bridges, who was obviously chosen only to draw more viewers, stars as “Colonel Parker” and does a poor job also, but in a different way than Youngblood. Bridges makes the Colonel appear too likable and too nice, defeating the purpose of the movie.

Youngblood seems to have accidentally studied Gomer Pyle videos instead of Elvis ones for his part, for he plays Elvis as an extremely stupid fool – which could not be further from the truth.

Appropriately, even the house that is supposed to be Graceland looks nothing like the real thing.

The ELVIS television special, or the ’68 Comeback Special as it has come to be known, featured Elvis in top form. Of course, this movie slaughters this as well. One of the most ludicrous moments in the movie, and there are many, occurs when Youngblood is shown standing in front of a series of waist-high letters that spell “ELVIS” in red lights. The real version was over two stories tall and looked much better.

One of the many myths that Elvis And The Colonel perpetuates is everyone’s old favorite: “Elvis” appears overweight throughout the 1970s in this movie while the real Elvis did not begin to experience significant weight problems until about two years before his death. Youngblood is shown obese by 1971, while the real Elvis at the time was in shape and would remain so for a few more years. Of course, in such an inaccurate movie, such mistakes are not surprising.

Half of the “Elvis” songs used in the movie were apparently taken from Ronnie McDowell’s work for the 1979 television movie Elvis, starring Kurt Russell, and not surprisingly, Youngblood does a poor job lip-synching to them. The rest of the songs were performed by Youngblood himself and are awful. One particularly bad scene uses a combination of McDowell’s and Youngblood’s vocal tracks.

The most surprising thing about this movie is that Dick Clark was its executive producer. Clark also executive produced the Kurt Russell Elvis movie, directed by John Carpenter, which is one of the better movies based on Elvis’ life.

With this new movie, Clark has gone wrong. He has stated his respect for Elvis in the past and his disdain for the Colonel, but this movie serves only to slam Elvis instead of its intended target.

Incidentally, Elvis And The Colonel was directed by William A. Graham, who directed the real Elvis in Change Of Habit, which was one of Elvis’ better films.

It is apparent that no one connected with this movie bothered to do any significant research about its topic. It is also apparent that the movie’s production was rushed, probably to have it ready in time to cash in on the free publicity of the Elvis stamp release two days prior to this movie airing. They need not have bothered, for The Carol Burnett Show: A Reunion special beat it soundly in the ratings.

The worst part about Elvis And The Colonel: The Untold Story is that some people, who knew nothing about Elvis, probably watched this irresponsible movie and now think that this is what Elvis was really like.

Songs include:

  • “Lawdy, Miss Clawdy”
  • “Rip It Up”
  • “Tutti Frutti”
  • “Long Tall Sally”
  • “Heartbreak Hotel”
  • “Trouble”
  • “Blue Moon Of Kentucky”
  • “Are You Lonesome Tonight”
  • “The Wonder Of You”
  • “Dixie/The Battle Hymn Of The Republic”

Rating: 1 out of 10

[The Elvis Beat newsletter] Coming Soon. . .

/ TY

I was 18 when I wrote this article back in 1993 for The Elvis Beat #4, my official Elvis Presley Fan Club newsletter.

Coming Soon. . .

Elvis In Hollywood: A documentary to be released on television and home video later this year. It will examine Elvis’ first four films and highlight his underrated acting talent. “With rare photographs, truly never-before-seen private film footage, and interviews with surviving crew members and co-stars, Elvis In Hollywood will take you on a wonderful, insightful journey behind the scenes of Love Me Tender, Loving You, Jailhouse Rock, and King Creole,” states Graceland Express. The documentary, produced by Jerry Schilling, will also include some previously unreleased Jailhouse Rock outtakes.

ELVIS: The King of Rock ‘n’ Roll – The 60s Sessions: A new CD boxed set to be released in August. This is the follow-up to last year’s ELVIS: The King of Rock ‘n’ Roll – The Complete 50s Masters, which went platinum and received three Grammy nominations.

America Comes To Graceland: A syndicated documentary to be aired on television August 15. Although it will be hosted live from Graceland, the broadcast will primarily consist of footage shot during Elvis Week ’92.

The Life And Times Of Elvis Presley: A companion piece to America Comes To Graceland that is to air in syndication the same week. This is an updated version of a 1987 BBC documentary which aired in two parts as Cut Me And I Bleed and I Don’t Sing Like Nobody.