Epic: Elvis Presley in Concert – Unheard Tapes & Baz Luhrmann’s New Film

Baz Luhrmann is revisiting the King. More than four years after the release of his blockbuster biopic, Elvis, the director is back with EPiC: Elvis Presley in Concert, a new film that isn’t a conventional concert movie, but rather a deeply immersive experience built around previously unheard audio of the star himself.

The film centers on a 40-minute audio recording made during Elvis Presley’s 1972 tour – his first in nearly a decade. A film crew documented the tour, hoping to capture an on-camera interview with Presley. However, as Jerry Schilling, a confidant and employee of Presley, recalls, the King was simply too tired when the time came. “We really wanted to get an interview with Elvis on film,” Schilling said, “But he was tired when we were going to do it and for whatever reason we never wound up getting anything on camera.”

What they did capture was a remarkably candid conversation, one that concerned Presley’s notoriously protective manager, Colonel Tom Parker. Parker ensured that little of the unscripted dialogue saw the light of day during his lifetime. Now, more than five decades later, significant portions of that audio are finally being unveiled.

Luhrmann describes the tape as a “lightbulb moment” for the new film. “As Elvis was off camera when it was taped, I think he was really unguarded and really open hearted,” he explained. “We thought, ‘What if we use this in the film so that Elvis tells his story himself?’” The quotes from the interview function as the film’s thematic spine, woven into a “dreamscape poem of Elvis” comprised of images, voiceovers, and dynamic editing.

The director’s signature style – manic editing, surreal imagery, and blurred timelines – is fully on display, extending the approach he established in films like Strictly Ballroom, Moulin Rouge, and his first Elvis feature. “Much as I try, I have never been able to follow the system,” Luhrmann said. “I have to tell the story my own way.”

The project began somewhat serendipitously while Luhrmann was making the first Elvis movie. He learned of unseen footage from the early 70s concert films, Elvis: That’s the Way It Is and Elvis on Tour. A search of Warner Bros.’ vaults, located in underground salt mines in Kansas, yielded 59 hours of previously unseen film negatives. This was supplemented with rare Super 8 footage from the Graceland Archives and material from private collectors – a process Luhrmann described as involving “a bit of going to see gangsters in car parks at midnight.”

The footage was painstakingly restored and enhanced, with assistance from Peter Jackson, who spearheaded similar efforts for the Beatles’ Get Back documentary. The result, Luhrmann asserts, is a level of visual clarity and richness never before seen in filmed presentations of Presley. He even preemptively addressed potential skepticism about the use of artificial intelligence, stating, “I heard a kid say the other day, ‘Ah, don’t’ get so excited, it’s just AI.’ But I’m making it clear that there’s not a frame of AI. The only visual effect in this film is the effect Elvis has on the audience.”

The film showcases Presley’s performances from 1970 and 1972, revealing a dynamism that challenges the later, often-satirized image of the star. While Presley’s 1968 TV special marked a creative resurgence, his move to Las Vegas initially seemed like a step backward, a sentiment prevalent among hipsters at the time. The footage in EPiC, however, presents a different picture. His karate chops, flamboyant collars, and energetic gestures are presented with renewed vibrancy.

Central to this is Presley’s rapport with his musicians, backup singers, and orchestra. The film highlights the sheer velocity of the music they created together, with performances of songs like “Polk Salad Annie” and “Burning Love” delivered at a breakneck pace. Gospel numbers like “Oh Happy Day” and “How Great Thou Art” showcase Presley’s vocal range, while R&B standards like “You’ve Lost That Lovin’ Feeling” reveal his emotional depth. Luhrmann emphasizes that Presley wasn’t simply performing songs; he was actively directing the band and singers, altering arrangements on the fly.

Schilling underscored Presley’s often-overlooked role as a producer. “He’s fixing the musicians, fixing the backup singers, and fixing the music overall. Elvis wasn’t just a great artist, he was a great listener.”

The film also reveals Presley’s playful banter with the audience, joking with fans and even taking a drink from a woman’s cocktail. Luhrmann believes this was a deliberate attempt to counteract the perception of Presley as an untouchable icon. “Being goofy and funny was his way of disarming the audience and letting them know he is, in fact, a human being.”

However, the interview excerpts woven throughout the film also reveal Presley’s frustrations. He expressed dissatisfaction with the roles he was offered in Hollywood, stating, “Hollywood’s image of me was wrong and I knew it. And I could not do anything about it.” Schilling recalls that the poor scripts Presley was given caused him physical distress. “He wanted to be a James Dean or Marlon Brando, and they weren’t giving him those roles.”

Luhrmann believes Presley had the potential to be a successful actor with better material, citing his performance in Kid Creole as evidence of his “real chops.” Presley also lamented his inability to tour internationally, a desire thwarted by Colonel Parker’s lack of an American passport and reluctance to reveal his Dutch citizenship.

The Colonel’s control extended to Presley’s acting ambitions as well. When Presley expressed interest in co-starring with Barbra Streisand in the 1976 remake of A Star Is Born, Parker sabotaged the deal by demanding an exorbitant fee and insisting on top billing for Presley. Schilling said, “If somebody can come in and make a deal with your artist and you’re not there, you’re either going to be a weak manager or not a manager.”

The Colonel’s continued insistence on Vegas residencies, initially intended as a showcase, ultimately became a draining grind for Presley. “You can’t have a genius do the same thing over and over again,” Schilling said. “They have to spread their wings.”

Schilling believes this frustration contributed to Presley’s struggles with substance abuse. By 1974, Presley was reportedly living a nocturnal existence, rarely seeing daylight. Luhrmann drew parallels to his experiences with Michael Jackson and Prince, noting their shared knowledge of prescription drugs and their insistence that they weren’t addicted.

The film’s footage, captured before Presley’s decline, offers a glimpse of the star at his peak. Luhrmann hopes that EPiC: Elvis Presley in Concert will allow audiences to connect with the man behind the icon. “There’s the image of Elvis and then there’s the man,” Luhrmann said. “I hope with this film people will get to know Elvis, the man, at last.”