Baz Luhrmann’s Radical EPiC Is the Tribute Elvis Deserves

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Before internet memes, there was graffiti. Back in the 1980s and 90s, people would often spray-paint “Elvis Lives” on walls in cities and towns. It was a mysterious message, open to interpretation. Did it suggest Elvis Presley hadn’t actually died in 1977, but was secretly living a quiet life somewhere? Or did it imply that his energy and influence continued on, taking new forms after his death? As critic Greil Marcus observed, Elvis’s true cultural impact wasn’t fully understood when he was alive. His death was like a silent explosion of influence, creating countless fragments that emerged over time. Elvis may have died once, but his spirit and legacy continued to reappear in endless ways, as vast and numerous as the stars.

Elvis Presley’s cultural presence occasionally fades, despite never being truly forgotten. Recently, Baz Luhrmann has been instrumental in revitalizing interest in the King. First, he did so with his energetic 2022 biopic, Elvis, starring Austin Butler, and now with a new film, EPiC (Elvis Presley in Concert), which feels more like a tribute than a traditional documentary. EPiC is built from previously unseen footage – 59 hours of performances and interviews – discovered by Luhrmann’s team while researching the biopic. This footage had been stored in a Warner Bros. vault, surprisingly located in an underground salt mine in Kansas. Luhrmann also included rare Super 8 film from the Graceland archives. Painstakingly restored, this footage forms the heart of EPiC, and despite Luhrmann’s typically flamboyant style—or perhaps because of it—the film feels surprisingly personal and moving.

I just finished watching EPiC, and it’s a really fascinating look at Elvis. The film brilliantly weaves together concert performances with more personal, candid moments, almost blurring the line between the performer and the man himself. It starts right at the peak of his fame, and early on, he openly discusses his energetic stage presence – he simply couldn’t stand still, and he admits it! There’s a clip of a phone call where he’s asked about the controversy surrounding his moves, and his response is surprisingly honest. He hadn’t apologized, because he didn’t believe he’d done anything wrong. And that, really, is what the scandal was all about. It wasn’t just the suggestive dancing; it was his insistence on acknowledging and celebrating our natural, joyful sexuality. In the 1950s, that was a truly revolutionary stance for anyone, let alone a major performer.

Baz Luhrmann quickly covers Elvis’ early life, glossing over the less successful films he made from 1956 to 1969 (which Elvis disliked) and his time in the Army from 1958 to 1960, including the death of his beloved mother, Gladys, which deeply affected him. The film introduces Colonel Tom Parker, Elvis’ manager, portraying him as manipulative, although some argue his influence wasn’t entirely negative. (Peter Guralnick’s book, The Colonel and the King, offers a more balanced perspective.) Luhrmann also includes captivating footage of Elvis performing in Hawaii in 1957, looking stunning in a gold jacket and lei. This was a high point in Elvis’ career and appearance, when his joy in performing shone brightly, almost like a divine glow, reminiscent of how medieval artists depicted holiness with gold leaf. It’s easy to see why he captivated audiences; what some considered shocking was actually a natural, almost innocent, charisma.

The film offers a glimpse of Elvis at play—rehearsing and joking with his band—instantly recognizable with his sideburns and colorful satin shirts. He always had a flair for accessories, and his stunning silver and turquoise belts are on full display. However, the heart of the film is footage from his legendary Las Vegas performances between 1969 and 1977. His costumes are a spectacle in themselves—bell-bottom jumpsuits often adorned with dramatic, old-fashioned collars and intricately knotted macramé belts that moved with him on stage. Elvis had an undeniable sense of style and fully embraced beauty and extravagance.

The Las Vegas footage offers fleeting previews of the struggles Elvis would later face – a slightly fuller face here, a tighter costume there, and moments where his eyes seem to lose focus. But for the most part, the Elvis in this footage is remarkably vibrant. He moves with ease, showing no signs of stiffness, and still finishes songs with his signature karate kick. His voice is strong and energetic, never sounding fatigued. He creatively blends songs together, transitioning from “Little Sister” into a cover of the Beatles’ “Get Back.” And when he performs the suggestive and surprisingly gritty “Polk Salad Annie”—a song about poverty—he takes a moment to explain to the audience what polk greens are: readily available, edible plants found in the South. He connects Annie’s story to his own, sharing that these greens were all her family had, but that “they did all right,” delivered in his reassuring tone.

Luhrmann emphasizes key phrases by repeating them, and powerfully combines images. He layers a young, iconic photo of Elvis as a baby—wearing a charming hat and nestled between his parents—over footage of Elvis performing. This image of baby Elvis, with a thoughtful expression, is highlighted and brought forward, ensuring the audience understands this part of his story. Some might find this approach overly sentimental, but it’s typical of Luhrmann’s filmmaking style: he always goes all-out. He pours everything into his work, and the resulting richness feels almost overwhelming—perhaps because we didn’t feel we deserved someone like Elvis. Elvis himself consistently gave more than expected, balancing serious moments with humor and wit. His life was extraordinary, both wonderful and profoundly sad. Now, through our continued appreciation of his music and image, we keep his legacy alive and build upon it each day.

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2026-02-21 00:07