Elvis Presley

Love Me Tender

This week, as Cargill roams the Himalayas in search of more discarded VHS copies of Skatetown USA, I am joined by FSR’s own Culture Warrior and soon-to-be-PhD Landon Palmer for a discussion of the deep-fried film oeuvre of The King himself. Almost-Dr. Palmer is definitely taking care of business as he breaks down how the shifts in Elvis Presley‘s onscreen performances mirror the shifts in rock-n-roll culture through the 50s and 60s. For my part, I go all fainting Bobby soxer over my love for King Creole and reveal how many times I’ve been to Graceland. All this, plus the reveal of which Elvis movie was intended to feature a talking camel. A little less conversation, Mr. Presley? Oh no, I think we need a lot LOT more. You should follow Brian (@Briguysalisbury), Landon (@landonspeak), and the show (@Junkfoodcinema). Download Episode #16 Directly


Elvis Presley biopic

There’s a whole lotta (head) shakin’ going on and, no, said shakin’ is not come care of that terrible Elvis pun, because the shakin’ predates the pun. So there. The Wrap is reporting that the King himself, Elvis Presley, might be getting a shiny new biopic, care of two people who have so far proven themselves ill-equipped to translate historical events to the big screen in a clear, concise and inspired manner. The outlet shares the news that Saving Mr. Banks scribe (and also 50 Shades of Grey adapter, please her heart) Kelly Marcel is penning a new biopic about the king’s life for the big screen. As of now, it’s “unclear which periods of Presley’s life would be depicted in the film,” but the script is described as an original take on his life. (Curiously, the outlet calls the currently-untitled film a biopic before stating that it’s “believed to be a biopic” later in their same piece. Shrug.) And although the king of rock n’ roll doesn’t have a bitter-faced British author to drive his narrative, he does have something that could be compelling the film’s possible director — a metric ton of sparkles.



If you’ve been patiently waiting for an Elvis Presley biopic to come along that does justice to the life and times of the legendary rockstar, then your lucky day might be coming soon, because a perfect storm of musical biopic experience has just come together to create a film project called Last Train to Memphis that’s planned to dramatize the early period of Presley’s life—where he transformed from being a kid with a guitar into the ultimate pop culture icon—and is based off of Peter Guralnick’s 1995 Presley biography of the same name. According to a report from Variety, the project is being put together by Fox 2000, who already scored big with the 2005 Johnny Cash biopic, Walk the Line. It’s going to be produced by Rolling Stones frontman Mick Jagger, who is also currently involved in a James Brown biopic starring Chadwick Boseman. And it’s to be directed by Kevin Macdonald, who saw great success with his 2006 biopic of Idi Amin, The Last King of Scotland, and who also has experience helming documentaries about famous musicians, including last year’s Bob Marley documentary, Marley. Last Train to Memphis is a movie that brings quite an impressive pedigree to the table.


Jimi Hendrix

There are a lot of things that writer/director John Ridley’s upcoming biopic of rock great Jimi Hendrix, All Is By My Side, has going for it. The most obvious asset being its star, André Benjamin, who has shown potential as an actor, has a ton of experience being a musician, and looks pretty much exactly like Jimi Hendrix once he’s all dressed up in costume and letting his afro roam free. There’s one huge stumbling block that has a lot of people questioning what the point of making this movie is at all though: the Hendrix estate didn’t sign off on letting them use any of the musician’s music in the film. How do you make a movie about Hendrix’s music career without showing him playing any of his music? Rolling Stone has the scoop. Apparently the biggest strategy Ridley and company are employing when it comes to getting around the issue of not being able to use any of Hendrix’s copyrights is that they’re going to focus on an isolated part of the musician’s career, the period where he was just emerging onto the scene in ’66 and ’67. Or, as producer Sean McKittrick puts it, “This is the story of Jimi being discovered as a backup musician and how he went to London and became Jimi Hendrix.” In McKittrick’s opinion, focusing on just the early part of Hendrix’s career is smarter than making a movie that covers his whole life, because, “That would be like making a movie […]

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published: 01.29.2015
published: 01.28.2015
published: 01.28.2015
published: 01.28.2015

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