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The concert scenes are tremendous, a riot of colour, thrusting and howling. We learn about the death of his twin brother, the jail time served by his father Vernon (a shifty but very likeable Richard Roxburgh), his devotion to his mum Gladys (Helen Thomson), and just how he became immersed in the music of Black singers like Arthur Crudup and Big Mama Thornton. The director takes us through the key staging posts in young Elvis’ life in an admirably concise fashion. True to form, he makes us sympathise with the Colonel at least some of the time. It’s impossible for Hanks, one of the best loved actors of his era, to play a purely loathsome character. But these are followed by the message that Elvis remains the most successful solo artist of all time – and you have to give the Colonel a big hunk of the credit for that. Over the closing credits, lines of text appear reminding us, in case we haven’t noticed, that the Colonel was a dirty rotten scoundrel.
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The Colonel stopped Elvis (Austin Butler) from travelling abroad because he himself was in the US illegally and was terrified he wouldn’t be allowed back in if he left.
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Elvis Presley’s manager Colonel Tom Parker ( Tom Hanks) is portrayed here as a scheming, opportunistic swindler who cared so little about the singer that he’d get “Dr Nick” to pump him full of prescription drugs so he could keep on performing. Its main villain is also one of its heroes. There is a paradox at the heart of Baz Luhrmann’s very flashy new Elvis biopic.