He is sentenced to 26 months in a federal prison in Danbury, Connecticut.
George's mother calls the police, who arrest him. While hiding from the authorities, George visits his parents. Her death marks the disbanding of the group of friends. After unsuccessfully trying to plead his innocence, George skips bail to take care of Barbara, who dies from cancer. Two years later, George is caught in Chicago trying to import 660 pounds (300 kg) of marijuana and is sentenced to two years' imprisonment. They start selling marijuana there, buying marijuana directly from Mexico with the help of Santiago Sanchez, a Mexican drug lord. Kevin Dulli, a visiting college student from Boston, tells them of the demand for marijuana back home. With Derek's help, George and Tuna make a lot of money. When George is 10 years old, Fred files for bankruptcy, but tries to make George realize that money is not important.Īs an adult, George moves to Los Angeles with his friend "Tuna" they meet Barbara, a flight attendant, who introduces them to Derek Foreal, a marijuana dealer. As it is, this is just another exercise in Elvis impersonation, its upper lip twitching to no purpose.Įlvis is released in Australia 23 June, UK/US 24 June.A young George Jung and his parents Fred and Ermine live in Weymouth, Massachusetts. But how about a film about the Colonel, with Elvis taking a secondary role? That would have been genuinely new and Hanks would have sold it superbly.
Why do the film at all? The rationale would appear to be – and might in earlier versions of the script have been – the poisonous bromance or toxic father-son relationship between Parker and Presley. Also erased, as it happens, is Ann-Margret, his Viva Las Vegas co-star, with whom he had a poignant, illicit relationship for about a year. But the film erases his actual Republican sympathies.
And yet it moves soundtrack tv#
This version of Elvis, with retrofitted liberal sensitivities, is always breaking off what he’s doing to look stunned at the TV reporting the assassinations of Martin Luther King and Robert F Kennedy, and to be soulfully devastated at the loss of these American icons. Luhrmann is at all times concerned to rescue Elvis from irony and failure and suffering.Īnd how about that legendary encounter with the one US president that Elvis really did admire – Richard Nixon – when the King was cordially received in 1970 at the White House because he demanded presidential action on the country’s infatuation with degenerate lefties like the Beatles? Nothing. But we don’t see the yucky burger binges or the adult diapers. He stays sweaty but reasonably svelte until almost the very end, when we see a decorous hint of flab. There is, for example, not really any such thing as Fat Elvis here. But otherwise it sticks to a defanged version of the script. There are some tiny unpredictable touches – such as a hint that Elvis secretly inflamed young gay men in the States as well as straight women. We get the basics of Presley’s career: the early days of hardship, the profound influence of black music, the blues and gospel his days on the hayseed country circuit before signing for Parker, the huge Elvismania success, the shrewd decision to calm moral-majority fears by doing two years military service in Germany, marriage to Priscilla, the bubblegum movies, the televised 1968 Comeback Special and the long Vegas goodbye. Colonel Tom is a kind of repeating cameo in Elvis’s life and Luhrmann is even less interested in Parker’s inner self than in Elvis’s – the Colonel’s own wretched post-Elvis life and death are shrugged off in the closing credit titles. But Luhrmann is clearly unwilling or unable to explore the dysfunctional Jekyll-and-Hyde relationship between the Colonel and Elvis in case any sort of dark or sad mood predominates.
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