उपयोगकर्ता समीक्षाएं

Greetings again from the darkness. Those of us in the United States have always loved a rags-to-riches success story ... it's the personification of the American Dream. The only thing we seem to enjoy more is tearing down the pedestals that we build for those folks, and then ripping apart their legacy. Acclaimed director Eugene Jarecki (WHY WE FIGHT, 2005) strains rigorously in his attempts to connect Elvis Presley selling out his talent for money with the transformation of the U.S. from a democracy to a crumbling capitalistic empire (likened to ancient Rome). The really interesting thing is that the film, despite being a staccato mess, is quite fascinating.

Director Jarecki's gimmick here is that he is taking a musical and historic road trip in the 1963 Rolls Royce once owned by Elvis. Along the way, he picks up passengers - some of which are musicians who perform in the backseat. The passenger list includes James Carville, John Hiatt, M Ward, Linda Thompson (ex-girlfriend of Elvis), Immortal Technique, and "best friend" Jerry Schilling (a comical description if you've read his book).

Chuck D from Public Enemy is interviewed due to his famous lyric: "Elvis was a hero to most, but he never meant s**t to me". The contradictions from this interview fit nicely with the contradictions throughout the film. George Klein takes Jarecki on a quick tour of Humes High School, and Ashton Kutcher babbles about fame - though he makes one spot on remark regarding the prison of fame, something much of the film seems to ignore. Producer Ethan Hawke spends a good amount of time on camera and in the front seat, while author and activist Van Jones seems narrowly focused on cultural appropriation and angry that Elvis never used his clout to help the minorities that influenced him.

Filmed in 2016, the film works hard to include the Presidential election, and we even see the sanctimonious Alec Baldwin adamantly proclaiming that Trump won't win. Jarecki is himself an activist, and here he stretches to prove his points - tying together everything from Elvis' induction into the Army to the Trump election more than a half-century later (and 40 years after his death). The road trip kicks off in Elvis' birthplace of Tupelo, where we meet some locals who talk about the lasting impact of Elvis on their town - a town still drenched in poverty. Memphis is next, and we hear about the 3 local kings: BB, Elvis and MLK. Jarecki even inserts a shot of the Rolls next to the Lorraine Motel. There is a terrific bit with the students from Stax Music Academy who perform "Chain of Fools" in the backseat. We then head to NYC and Nashville, capping off the musically creative portion of Elvis' career. Next up is Hollywood, Hawaii, and finally Las Vegas.

At times, the film is just flat out weird. One segment force feeds parallels with the 1933 King Kong movie (yes, really), then Elvis as a tourist, and finally, Dan Rather's all too familiar voice performing "America the Beautiful" ... each piece featuring the Empire State Building. But just when a Bernie Sanders rally makes you want to turn off the film, we get an insightful Mike Myers effectively pointing out the hypocrisy of the American Dream as sold by the government, or David Simon questioning the choice of the Rolls over one of Elvis' prized Cadillacs, or Sam Phillips' (Sun Records) son re-telling the story of how his father lost Elvis to the carnival-barker Colonel Tom Parker (neither a Colonel nor a Parker).

Jarecki and co-writer Christopher St. John try to weave a tapestry of fame and money with cultural and societal shifts. Some segments work, while others fall flat. The editing of talking heads sometimes gives the feel of a debate, but often the scattered and choppy film meanders through multiple messages whilst driving the backroads of the country. We get clips of Elvis on the Ed Sullivan Show and getting his famous locks sheared in the Army, and the 1968 comeback special; however, there is little mention of Priscilla, Lisa Marie or Graceland.

Judging Elvis for money grab without seeming to take into account his young age (he was 21 when he first appeared on Sullivan, and 23 at his Army induction) and his extreme poverty of youth, much less the power of his domineering agent, seems to be harsh judgement in an era that had never seen such media giants as the Kardashians or Justin Bieber. When Jarecki's road chief admits, "I don't know what the hell you're doing" (when Jarecki asks him what he thinks he's doing with the movie), it's the first time we can actually relate to what someone has said. Despite all of that, you'll likely be glued to the screen for the full run time - either enjoying the songs, watching the clips, or trying to see if Jarecki's puzzle pieces even fit together.

Unorthodox documentary not so much "about" Elvis Presley, but about how Elvis affected --and was affected by -- American culture. The gimmick Director Eugene Jarecki employs is that he purchased Elvis' actual Rolls Royce, and then films interviews of a wide variety of folks in that vehicle as it travels across the places that Elvis himself stayed at various points in his life, from his hometown in Tupelo Mississippi to Memphis (although, curiously, Graceland is barely mentioned) and places in between.

Even though Jarecki doesn't give us a straightforward biography of Presley, THE KING does a pretty fine job of covering the bases, even if indirectly. The most effective part of the Doc comes early on in a discussion of whether Elvis was a cultural appropriator of black music, culminating in his early crowning as The King Of Rock And Roll. The movie gives a fair-minded balance of pro and con with people like Presley's guitarist Scotty Moore, Emmylou Harris and John Hiatt on one side and rapper Chuck D on the other (he, of the infamous song lyric: "Elvis was a hero to most. But he never meant **** to me you see."). There's also a clip of Big Mama Thornton's blistering original version of "Hound Dog". Jarecki then follows Elvis' travels to NYC and even bigger fame and riches. Then, it's off to the Army and Presley's decline into B movies and Vegas schmaltz. The clips of 'fat Elvis' at the end are truly shocking even all these decades later.

Where Jarecki over-reaches is that he isn't satisfied just showing Elvis' effect on the public, but then tries to tie it in with today's culture wars. Shot during the 2016 campaign with such guests as Alec Baldwin, Van Jones and James Carville, Jarecki makes tenuous connections. VERY tenuous connections. No question that Elvis was a seismic force when he hit, but, save for the brief glory period after the '68 Comeback Special, Presley can hardly be looked upon as a central artistic force after the very early 60s. While significant figures can certainly have a long influence, the fact that Elvis passed on in 1977 makes it a stretch to say that he is symbol of our Red-Blue state America today. If anything, Elvis is the very definition of 'Purple' celebrity - equally loved by all demos.

Even with this central flaw, there is no question that THE KING is a dense, engaging Documentary. One can't help but feel that they have gone on some sort of journey itself, much like Elvis's well-traveled Rolls itself.

Still ruminating on this one. The film tries to compare the career of Elvis Presley to the rise and fall of the American dream. While taking a road trip in one of Elvis' Rolls Royce's (not a trademark Cadillac) and interviewing celebs, people who knew him, and people who didn't but live near where he did. Ambitious. Thought provoking. Originally called Promised Land then changed to The King. Just like the change of the title, the allegory doesn't quite work.

There is a moment in Eugene Jarecki's mostly successful cinema essay, THE KING, where something to this extent is voiced about the success of "race" music, or black music, in America, "America profited from the enslavement of black culture and then, after resisting giving freedom to that culture for as long as it possibly could, started profiting from the soulful cry that arose from their suffering."

THE KING is most interesting when it's wrestling with this problematic American history through the lens of Elvis Presley - a white performer who rose to mega global super-stardom in large part by mining the music of the African Americans who could never dream of achieving the same level of fame. But THE KING wants to do more than that. It wants to map the entirety of American history on to the life of Elvis. From the early concept of America as an "experiment in democracy" equating it to the early, idealistic, wide-eyed Elvis; to the current America, seemingly synonymous with runaway capitalism, paralleling the bloated, addicted, Vegas Elvis. Sometimes the metaphor works clearly, cleanly, and even profoundly, other times it feels forced. It's not helped by an almost constant quick-cut, manic editing style that never settles into much of a groove. There are two very powerful montages in the last act that drive home the thesis Jarecki is going for, and they are wonders of contextual editing and visual meta-meaning, but because they're dropped at the end of what is essentially a montage-movie, they're impact is muted. What should have been an apex moment in the visual storytelling comes off as just a slight uptick in the pace and rhythm of the film. Apparently there was close to 250 hours of footage shot for the doc, and you can see it in the editing. There's a lot that the filmmakers want you to see, but the pacing, tone, and thematic clarity suffer from a lack of breathing room. Some of the interviews are outstanding. Chuck D, as always, is a national treasure. Ethan Hawk is affable as hell. John Hiatt has one particular moment of emotional clarity that's pretty much worth the price of admission. And, in a surprise powerhouse showing, Mike Myers turns out to be an incredibly astute and impish observer of the American phenomenon. Sadly all of these interviews are really just reduced to sound bites in the frenetic race to get from moment to moment, beat to beat.

I have to also mention the musical performances, which are outstanding, but also, not given a whole lot of room to stretch.

But THE KING is good, you should absolutely see it. THE KING is ambitious. THE KING is even important. If the failures and successes of THE KING were the failures and successes of more modern American art and thought, maybe we wouldn't be in the mess we're in today. Check it out.

This film makes an analogy between Elvis Presley's rise in America's consciousness and the rise of corporate domination throughout much (most?) Of the Western world.

The filmmaking is excellent; it is well shot and deftly edited. Some of the analogy wanders a bit and doesn't always hit the bullseye; the documentarian definitely has a bias. But then ALL documentaries are biased, because they are ALL produced by people, and ALL people have biases.

Most all of the people in the Rolls' backseat are fascinating, even the ones who don't speak. Baldwin comes off as least personable, but there's no denying his prescient insights.

A fine---no, excellent---look at America, where it's been, and where it's likely going.

Highly recommended for its intelligence and entertainment value (heck, it's got Elvis!).

This is an Amazing film that actually paints Elvis in a positive light while exposing the culture of racism of American's that loved and continues to love him. Elvis was NOT a racist but couldn't escape the fact the a large portion of his fans were. The fake quote wasn't the catalyst behind the belief of him being racist. It was the racist experiences of the many black fans that adored him that actually generated the thought that he was part of that horrible time in America. The experiences included things like the fact that many black fans couldn't see him in the same venue along side their white peers, or the fact that they were thrown out of concerts for made up reasons or not let in at all. It also didn't help that he was the biggest star during arguably the worst time in America and said very little about the injustices that he himself hated and sometimes experienced himself ( ie, when he toured with black band members or vilified for sounding and dancing too "black"). Many minority fans waited for the time when The King would prove that he was an ally but that time never came even when America's race relations were coming to a boiling point in the 60's. Those fans felt portrayed and essentially lumped him in with the era he was so closely tied with. It didn't help that later it was discovered that the music he made his millions from was written by black song writers who didn't get a dime. It also didn't help that his later "self absorbed" "Vegas" years exposed a tortured and sometime contentious, unlikable person. With that said, I really think he gets a bad wrap for things he couldn't control , or who knows, wasn't allowed to control.

Late one night, I came upon this little ditty on PBS, as the moon was about say adios. To echo what others have said, this film has an abundance of nice images, and it welcomes a plethora of comments from those who respected, love, and even pitied Elvis. There are some poignant moments from those who were close up to the King. One of the most touching moments comes when a contemporary musician feels such empathy for Elvis, that he can't help but shed painful tears.

As "GORTX" (and other reviewers) have wisely pointed out, the director felt compelled to connect some dots in a bit of a reckless way... particularly when he compares the dynamics of Elvis with today's political climate and the American Dream. When he does this, it somehow minimizes certain parts of the singer's dramatic narrative.

You'll will find some good stuff here, even if you think the political references are not justified. Try to absorb the lively rhythm and zesty imagery. Elvis had an easy charm and a distinct voice. His face was unusually striking. While his physicality might seem superficial, his looks served him well, and propelled his fame to a deeper level.

This is a documentary film that was supposed to be about the America that Elvis helped mold with his brand of rock and roll music, swinging hips, and movie stardom. Oh, and let us not forget how saturated his face and image were marketed on from everything from toys to toasters in the 1950's through 1970's and beyond where he is still considered the King of Rock N Roll.

But really what this documentary unfolds and addresses before our very eyes is the director/writer. Eugene Jarecki's left leaning political view that Elvis Presley and by extension Donald Trump destroyed the American dream and made themselves very wealthy on the backs of hard working Americans that did not look like themselves.

I found the documentary an unfair view of a time in America when Americans were actually prosperous both as a country and as hard working immigrants who made it in America and regardless of their race, religion, or ethnicity either simply enjoyed Elvis Presley and/or wanted to see more and more of Elvis on the stage and in the movies.

Any public image of a politician/musician/film star/author/celebrity can always be criticized for not supporting some group or some cause but why do some writers/directors use this platform of film to disparage others who do not share their own view of the world?

I give the film a 4 out of 10 IMDb rating and I really hope that the Amazon censors will allow my review to remain without pulling it as they may not share my own view which is there have always been two sides to every coin and every controversy.

Definitely targeted to US audience, this "documentary" is a fast editing of snippets from everything and their dogs (Vietnam war, King Kong, random unknown musicians, hitchhikers and - literally - their dogs, lynching in the 30s, etc...) mixed with snippets about Elvis'background and meteoric rise to fame.

Given that I am not even an Elvis fan and definitely not from the US, I had no idea who two thirds of the people interviewed were and couldn't care less to listen to their tunnel-vision blabbering.

I just wanted to know a bit more about Presley, such as how he became a myth and how he managed to squander everything. What I got instead was patronising about how America is going down the drain and how Elvis "stole" his success from the Afro-American.

I definitely agree about the down the drain part and this doc is a good example.

The King is essentially three or four really good documentaries edited into one and that's where the trouble starts. Elvis' life and career are fascinating to watch. And the lies on which the American dream is built - stolen land, slavery, apartheid, the corrupted political system - deserve every effort to refocus public awareness. The roadtrip in Elvis' old Rolls Royce is a nice idea. Just that trying to link his rise and fall to all that happens in America over the past 70 years seems forced and doesn't give each story the necessary time and attention. Viewing The King I felt like watching an interesting docu on TV while someone else got hold of the remote and constantly switches to another channel. 8 Stars for the original idea, 2 Stars for execution.

The people who endorse music that glorifies hitting women and dealing drugs and killing want you to know how evil americana and elvis are and were..

Say goodbye to elvis sub-culture. No longer politically correct according to the establishment that is destroying free market economics and conservative culture..

Which I'm not part, but I do make a point to call out agendas based on lies and greed..

The left continue to whine about Trump, this time dragging poor old Elvis into their narrative, at least the music saves this mess from being a complete unwatchable disaster. I feel bad for this filmmaker though, it must be hard not to have grown up being the special little snowflake his parents promised he would be....

"Celebrity is the industrial disease of creativity." Mike Myers

It is commonly thought that America is in decline for the greatness it knew after WWII. Writer/director Eugene Jarecki has a vision in The King of a similar decline in Elvis Presley' life from unique, authentic talent to a has-been dead in his forties. This best-so-far-this-year documentary begs us to consider the analogy although to its credit, it does not force the similarities.

The film's interesting conceit suggests that both subjects bear their own responsibility for their descent-Elvis giving into commercialism and drugs, America, well, introducing itself to solipsism and commercialism, culminating in the election of Donald Trump. While America is a decline in progress, Elvis gave up 30 years ago but has never been forgotten.

That's the rub-he achieved artistically and financially beyond even Col. Parker's wildest expectations, but Elvis was not able to handle the fame or the money. Or maybe when you can buy all the cheeseburgers and drugs you want, you can watch your belly grow as your mind shuts down. Jarecki uses Elvis's 1963 Rolls Royce to have performers like Immortal Technique and Emi Sunshine sing in the back seat about America.

As Jarecki winds in the Rolls from Memphis to New York, Vegas, and back to Memphis, it slowly becomes clear this should been one of Elvis's pretty Cadillac's; how ironically perfect that it's a Rolls, so out of touch with his roots.

Besides the simple lamentation of greatness gone too soon is the argument that Elvis appropriated Black culture on his road to fame and wealth. Although arguments abound on both sides, this point illustrates the varied richness Jarecki brings to his documentary,

At any rate, having just watched Whitney about her great voice and its descent with the help of drugs, I am dismayed that such is sometimes the fate of the great. America is no different, and the frequently-montaged images from presidents to celebrities are sometimes surprising, sometimes depressing, but never dull. Jarecki has a gallery of shots that would be impressive even without sound. It's a museum of our glory and our loss.

Along this nostalgic road, and America itself seems to be stuck there without a clue about how to save its future from the decision it made in 2016, is the prevailing idea that Elvis also followed the money and the easy way. We see how he ended up, so can we learn and make some tough decisions now?

It is ridiculous.... Every time they want to simulate chaos they show Trump or Trump rallies. Then they double down having Obama's vocals representing the American Dream.. In an Elvis documentary, ALec Baldwin drives around in Elvis' Rolls rolling window down talking about Trump. They try to connect the fact that Trump was elected President because of Elvis. Movie is a fail because of their political motivation... NEXT!

I managed to find this documentary on DVD at my public library. I remember Elvis, he was only 10 years older than me. I remember when he died but really didn't have a concept of how young 42 is. Now that my own youngest son is 42 it hits me.

The documentary is good if you view it as a collection of different people expounding on what they thought his influence was rather than take everything as gospel, pun intended. Some of the black commenters are especially brutal, "hating" Elvis for what they perceive is unfair appropriation of black music, and more so for failing to use his influence to help the causes for eliminating racial bias.

Perhaps it is ultimately fortunate that Elvis died so young, he was a blazing comet that came, did his thing, then left. Imagine an 83-yr-old Elvis performing at Branson, a shade of his former self. No, that would just tarnish our memory of him.

A very interesting look at Elvis and his life, and a modern look at places he grew up and lived in. And of course his 1963 Rolls Royce, touring the country and breaking down now and then.