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.
The King (2018) 720p YIFY Movie
The King (2018)
The King is a movie starring Alec Baldwin, Tony Brown, and James Carville. Forty years after the death of Elvis Presley, a musical road trip across America in his 1963 Rolls Royce explores how a country boy lost his authenticity and...
IMDB: 7.02 Likes
- Genre: Documentary |
- Quality: 720p
- Size: 1.32G
- Resolution: / fps
- Language: English
- Run Time: 107
- IMDB Rating: 7.0/10
- MPR: Normal
- Peers/Seeds: 1 / 7
The Synopsis for The King (2018) 720p
Forty years after the death of Elvis Presley, a musical road trip across America in his 1963 Rolls Royce explores how a country boy lost his authenticity and became a king while his country lost her democracy and became an empire.
The Director and Players for The King (2018) 720p
The Reviews for The King (2018) 720p
Thought provoking documentary, it's not all about Elvis, fans be forewarnedReviewed byLauran123Vote: 7/10
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!).
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.