This Is Elvis (1981)

PG | 88 mins | Documentary, Biography | 10 April 1981

Directors:

Malcolm Leo, Andrew Solt

Producers:

Malcolm Leo, Andrew Solt

Cinematographer:

Gil Hubbs

Editor:

Bud Friedgen

Production Company:

Warner Bros. Pictures
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HISTORY

       As tracked in articles in the 26 Mar 1980 Var, the 28 Mar 1980 LAT, and the 4 Sep 1980 Rolling Stone, executive producer David L. Wolper negotiated for months with Elvis’ manager, Colonel Tom Parker, and with the Elvis Presley Estate to get authorization for the documentary, and he obtained full cooperation. The 7 Apr 1981 DV noted the Presley Estate received an advance and owned a percentage of the film’s profits. Parker also reportedly received financial compensation and was credited as a “technical adviser.” Parker provided the filmmakers with access to rare footage of Elvis, including home movies, in addition to recordings and Presley memorabilia. An article in the 9 May 1980 DV reported that Jerry Schilling and Joe Esposito, who had worked closely with Elvis, were signed as consultants on the film. Schilling was a childhood friend who became Elvis’ stand-in for films and also assisted Presley on his tours. Esposito befriended Elvis in the Army and later “handled Presley’s personal affairs” and worked on his tours.
       The producers chose a “docudrama” approach, mixing actual footage with recreations. The 19 Jan 1981 DV reported that four actors were hired to portray Elvis at various stages of his life, but the dramatic recreations would only account for approximately ten percent of the film. The 26 Mar 1980 Var noted that filming locations included Presley’s estate, Graceland, in Memphis, TN; Tupelo, MS; Las Vegas, NV; and Germany. The 7 Apr 1981 DV stated the film’s budget was $5 million.
       The 28 ...

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       As tracked in articles in the 26 Mar 1980 Var, the 28 Mar 1980 LAT, and the 4 Sep 1980 Rolling Stone, executive producer David L. Wolper negotiated for months with Elvis’ manager, Colonel Tom Parker, and with the Elvis Presley Estate to get authorization for the documentary, and he obtained full cooperation. The 7 Apr 1981 DV noted the Presley Estate received an advance and owned a percentage of the film’s profits. Parker also reportedly received financial compensation and was credited as a “technical adviser.” Parker provided the filmmakers with access to rare footage of Elvis, including home movies, in addition to recordings and Presley memorabilia. An article in the 9 May 1980 DV reported that Jerry Schilling and Joe Esposito, who had worked closely with Elvis, were signed as consultants on the film. Schilling was a childhood friend who became Elvis’ stand-in for films and also assisted Presley on his tours. Esposito befriended Elvis in the Army and later “handled Presley’s personal affairs” and worked on his tours.
       The producers chose a “docudrama” approach, mixing actual footage with recreations. The 19 Jan 1981 DV reported that four actors were hired to portray Elvis at various stages of his life, but the dramatic recreations would only account for approximately ten percent of the film. The 26 Mar 1980 Var noted that filming locations included Presley’s estate, Graceland, in Memphis, TN; Tupelo, MS; Las Vegas, NV; and Germany. The 7 Apr 1981 DV stated the film’s budget was $5 million.
       The 28 Mar 1980 LAT reported the producers originally hoped to release the film in Aug 1980 to commemorate the third anniversary of Presley’s death, but they did not want to rush the project and changed the release to a later date. A press release in AMPAS library files and an item in the 27 Mar 1981 HR reported that This Is Elvis would premiere at the USA Film Festival in Dallas, TX, on 4 Apr 1981. However, items in DV on 11 Mar 1981, 6 Apr 1981 and 7 Apr 1981 noted the film’s world premiere was held in Memphis, TN, on 3 Apr 1981. The following Friday, 10 Apr 1981, the film was released in 400 theaters across the South.

      End credits include the following statements: “The Producers wish to thank The Elvis Presley Estate and its trustees for their assistance and cooperation during filming at Graceland and throughout the production of this picture” and, “Certain sequences in this film were recreated in Tupelo, Mississippi, Memphis, Tennessee, Portland, Maine and at Elvis’ home, Graceland.” Also stated is: “The Producers gratefully acknowledge: Steve Allen, Ian Bailye, Paul Bateman, Michelle Beaulieu, Milton Berle, Delta Mae Biggs, Dick Bogert, Joan Deary, Tom Diskin, Maurice Elliott, Ward Emling, Bob Furmanek, Marilyn & Hy Gardner, Sherman Grinberg, John Guedel, Bob Hope, Jerry Hopkins, The Jordanaires, Grelun Landon, Janelle McComb, Dean Nichopolous, Jim O’ Brien, George Parkhill, Sam Phillips, Robert H. Precht, Vester Presley, Bill Shapard, Todd Slaughter, Chuck Staley, Gordon Stoker, Susan Winslow, Gloria Wolper,” and, “Production services and equipment provided by The Burbank Studios, Burbank, California.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
9 May 1980
---
Daily Variety
19 Jan 1981
---
Daily Variety
11 Mar 1981
---
Daily Variety
6 Apr 1981
---
Daily Variety
7 Apr 1981
---
Hollywood Reporter
27 Mar 1981
---
Hollywood Reporter
6 Apr 1981
p. 3
Los Angeles Times
28 Mar 1980
Section VI, p. 2
Los Angeles Times
7 May 1981
p. 1
New York Times
8 May 1981
p. 18
Rolling Stone
4 Sep 1980
---
Variety
26 Mar 1980
---
Variety
8 Apr 1981
p. 20, 22
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
A David L. Wolper Production
An Andrew Solt / Malcolm Leo Film
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
Asst dir
2d asst dir
PRODUCERS
Assoc prod
Exec prod
WRITERS
PHOTOGRAPHY
Dir of photog
Dir of photog addl filming
Cam op
Asst cam
2d asst cam
Key grip
Dolly grip
Best boy
Still photog
FILM EDITORS
Co-ed
1st asst ed
Asst ed
Asst ed
Asst ed
Negative cutter
SET DECORATORS
Set dec
Prop master
COSTUMES
Men's costumer
Women's costumer
MUSIC
Orig mus score by
SOUND
Post prod sd by
Re-rec mixer
Re-rec mixer
Re-rec mixer
Sd mixer
Supv sd eff ed
Boom man
VISUAL EFFECTS
Opt and end titles
Main titles
Home movie opt
MAKEUP
Makeup artist
Hairstylist
PRODUCTION MISC
Consultant
Consultant
Post prod supv
Videotape seq
Loc casting
Casting asst
Asst to the prods
Research coord
Researcher
Researcher
Researcher
Researcher
Researcher
Researcher
Researcher
Prod coord
Contract admin
Post prod liaison
Transportation coord
Transportation capt
Prod secy
Unit pub
Prod assoc
Prod assoc
Prod assoc
Prod assoc
Prod assoc
SOURCES
SONGS
“His Latest Flame,” by Doc Pomus and Mort Shuman, Elvis Presley Music; “Moody Blue,” by Mark James, Screen Gems-EMI Music, Inc., Sweet Glory Music; “I’ll Fly Away,” by Albert E. Brumley, Albert E. Brumley & Sons; “Furry Lewis’ Blues,” by Furry Lewis and Harry Godwin, Sterling Music Co.; “Sixty Minute Man,” by William Ward and Rose Marks, Fort Knox Music Co.; “Rocket 88,” by Jackie Brenston, Rightsong Music; “Mystery Train,” by Herman Parker, Jr. and Sam Phillips, Hi-Lo Music Inc. (Rightsong Music Admin.); “That’s When Your Heartaches Begin,” music by Fred Fisher, words by William Raskin and George Brown, Fisher Music Corp.; “That’s All Right Momma,” by Arthur Crudup, Rightsong Music-Crudup Music; “Shake, Rattle & Roll,” by Charles Calhoun, Rightsong Music; “Flip, Flop, Fly,” by Charles Calhoun and Lou Willie Turner, Rightsong Music; “Heartbreak Hotel,” by Mae Boren Axton, Tommy Durden and Elvis Presley, Tree Publishing Co., Inc. ; “Hound Dog,” by Jerry Leiber and Mike Stoller, Gladys Music-MCA Music, a division of MCA, Inc.; “My Baby Left Me,” by Arthur Crudup, Elvis Presley Music-Crudup Music; “Love Me Tender,” by Elvis Presley and Vera Matson, Elvis Presley Music; “Merry Christmas, Baby,” by Lou Baxter and Johnny Moore, Rightsong Music; “Mean Woman Blues,” by Claude DeMetruis, Gladys Music; “Trouble,” by Jerry Leiber and Mike Stoller, Gladys Music; “Don’t Be Cruel,” by Otis Blackwell and Elvis Presley, Unart Music-Elvis Presley Music; “Teddy Bear,” by Kal Mann and Bernie Lowe, Gladys Music; “Jailhouse Rock,” by Jerry Leiber and Mike Stoller, Gladys Music; “G.I. Blues,” by Sid Tepper and Roy C. Bennett, Gladys Music; “It’s Nice to Go Trav’ling,” by Sammy Cahn and James Van Heusen, Maraville Music Corp.; “Witchcraft,” by P. King and D. Bartholomew, Unart Music Corp.; “Too Much Monkey Business,” by Chuck Berry, Arc Music Corp.; “I Want To Hold Your Hand,” by John Lennon and Paul McCartney, Duchess Music Corporation; “I’ve Got A Thing About You Baby,” by Tony Joe White, Tennessee Swamp Fox Music, Inc.; “I Need Your Love Tonight,” by Sid Wayne and Bix Reichner, Gladys Music; “Blue Suede Shoes,” by Carl Lee Perkins, Hi-Lo Music, Inc. (Rightsong Music Admin.); “Viva! Las Vegas,” by Doc Pomus and Mort Shuman, Elvis Presley Music; “Suspicious Minds,” by Mark James, Screen Gems-EMI Music, Inc.; “The Promised Land,” by Chuck Berry, Arc Music Corp.; “Always On My Mind,” by Wayne C. Thompson, Mark James and Johnny Christopher, Screen Gems-EMI Music Inc.-Rose Bridge Music, Inc.; “Kung Fu Fighting,” by Carl Douglas, Chappell Music; “Are You Lonesome Tonight,” by Roy Turk and Lou Handman, Bourne Co.-Cromwell Music, Inc.; “My Way,” music and French words by Claude Francois, Jacques Revaud and Lucien Thibaut, English words by Paul Anka, Spanka Music Corp.; “American Trilogy,” arranged by Mickey Newbury, Acuff-Rose Publications; “Memories,” by Billy Strange and Scott Davis, Elvis Presley Music.
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
10 April 1981
Premiere Information:
Memphis, TN premiere: 3 Apr 1981; Los Angeles and New York openings: 8 May 1981
Production Date:

Copyright Info
Claimant
Date
Copyright Number
Warner Brothers, Inc.
12 August 1981
PA111242
Physical Properties:
Sound
Recorded in Dolby Stereo
Color
Prints
Prints by Technicolor®
Duration(in mins):
88
MPAA Rating:
PG
Country:
United States
Language:
English
PCA No:
26283
SYNOPSIS

A mix of newsreel footage, home movies, television and film clips, dramatic re-creations, and voice-over narration chronicles the life of Elvis Presley. On 16 Aug 1977, as Elvis’ manager, Colonel Tom Parker, and his entourage, known as “The Memphis Mafia,” prepare for a concert in Portland, Maine, Elvis dies at “Graceland,” his Memphis, Tennessee, home, at age forty-two. The film flashes back to Elvis’ childhood in Tupelo, Mississippi, where his parents lived next door to his grandmother and struggled to find work. Elvis had a twin brother who died at birth, so he was an only child and was very close to his mother, Gladys. Gospel songs from his church background were always a strong influence on Elvis, and an African-American friend introduced him to blues music, which was played in the “black” section of town. Unable to find work, Elvis’ father, Vernon, moved the family to Memphis, Tennessee. Elvis was shy and did not easily fit in with the other teens, who had crewcuts while Elvis wore longer hair and sideburns. He worked part-time to afford rhythm and blues records and “sharp” clothes. At Humes High School, Elvis was an average student, but received a failing grade in music. However, his Music Club performance changed everything, and Elvis realized he could count on music to help make friends, especially with girls. Elvis went to Sun Recording Studio, ostensibly to make a record for his mother’s birthday, but also to attract the attention of owner Sam Phillips. Sam recorded a lot of African-American artists at the time, and reportedly was searching for a “white singer with a black ...

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A mix of newsreel footage, home movies, television and film clips, dramatic re-creations, and voice-over narration chronicles the life of Elvis Presley. On 16 Aug 1977, as Elvis’ manager, Colonel Tom Parker, and his entourage, known as “The Memphis Mafia,” prepare for a concert in Portland, Maine, Elvis dies at “Graceland,” his Memphis, Tennessee, home, at age forty-two. The film flashes back to Elvis’ childhood in Tupelo, Mississippi, where his parents lived next door to his grandmother and struggled to find work. Elvis had a twin brother who died at birth, so he was an only child and was very close to his mother, Gladys. Gospel songs from his church background were always a strong influence on Elvis, and an African-American friend introduced him to blues music, which was played in the “black” section of town. Unable to find work, Elvis’ father, Vernon, moved the family to Memphis, Tennessee. Elvis was shy and did not easily fit in with the other teens, who had crewcuts while Elvis wore longer hair and sideburns. He worked part-time to afford rhythm and blues records and “sharp” clothes. At Humes High School, Elvis was an average student, but received a failing grade in music. However, his Music Club performance changed everything, and Elvis realized he could count on music to help make friends, especially with girls. Elvis went to Sun Recording Studio, ostensibly to make a record for his mother’s birthday, but also to attract the attention of owner Sam Phillips. Sam recorded a lot of African-American artists at the time, and reportedly was searching for a “white singer with a black sound.” Sam asked Elvis to work with experienced musicians Scotty Moore and Bill Black, and it took six months to find the right song to release. “That’s All Right, Mama” received radio air play and Elvis played engagements across the South. On the road, Elvis met Colonel Tom Parker, already a well-known manager, who wanted to represent the singer. In 1956, Elvis appeared on television for the first time, performing “Shake, Rattle and Roll,” and his career took off. Elvis’ signature performing style included a lot of hip movement, which simultaneously created fans and caused furor. Some critics were shocked by his performance, claiming it was obscene. In July 1956, police filmed one of Elvis’ shows, looking for lewd conduct. In interviews, Elvis defended rock and roll music, and insisted he was not doing anything wrong. All of the attention on Elvis attracted the interest of motion picture studios and Elvis was signed to star in his first film. Originally titled Reno Brothers, the film was renamed Love Me Tender to coincide with Elvis’ hit song. In 1957, Elvis bought Graceland for his family, and lived there with his mother, father and grandmother. He also indulged his passion for Cadillac cars. In feature films, Elvis was often cast as a rock and roll rebel, who got into fights. In real life, when a man at a gas station tried to hit him, Elvis fought back, and subsequently had to go to court. The judge sided with Elvis and threw the case out. Critics worried about Elvis’ influence on young people, and the next time he appeared on television, he was only seen from the waist up. At the end of the show, host Ed Sullivan called Elvis back on stage and proclaimed he was a “decent, fine boy,” which helped end the criticism. Elvis continued making films, noting that his favorite production number was “Jailhouse Rock,” in the film of the same name. Elvis’ entertainment career was interrupted by induction into the United States Army. He moved his parents to a home near Fort Hood, Texas, where he took his basic training, but his mother’s health suddenly declined and she returned to Memphis. Elvis took emergency leave, arriving the night before his mother died on 14 Aug 1958, at age forty-six. A month later, Elvis was stationed in Germany. He refused the pressure to perform at army bases, insisting he was a regular soldier. While serving in Germany, he was exposed to “Bennies,” the slang name for the amphetamine Benzedrine, and took them to stay awake while on watch. He rented a nearby house for his father and grandmother, and during his stay, Elvis became interested in Priscilla Beaulieu, the fourteen-year-old daughter of an Air Force colonel. After two years of service, Elvis returned to Memphis and started to rebuild his career, beginning with an appearance on Frank Sinatra’s television show. When Priscilla was sixteen, Elvis persuaded her parents to allow her to live at Graceland, under the guardianship of Vernon Presley and his new wife. However, Elvis spent most of his time making movies and Priscilla was lonely. For the next few years, he filmed approximately three pictures per year, making more than thirty films by the end of the 1960s. On 1 May 1967, Elvis married Priscilla, and nine months later, she gave birth to their daughter Lisa Marie. Meanwhile, the Beatles were conquering the music scene in America, and some wondered if Elvis was a relic of the 1950s. Tired of making “silly” movies, Elvis wanted to return to performing after an absence of almost ten years, and decided to do a television special. The National Broadcasting Company’s (NBC) Elvis Presley special was the most watched television program of 1968. Next, Elvis returned to the stage in Las Vegas, Nevada, and successfully started touring. Elvis was most excited about his 1973 concert in Hawaii, which was the first worldwide satellite telecast for an entertainer, and was a great success. However, the pressures of life on the road began to affect him. He rarely saw Priscilla, and she asked for a divorce. After their breakup, he dated Linda Thompson for four and a half years, but she felt Elvis was slowly losing his passion for life. One of the few things Elvis enjoyed was practicing karate with his bodyguards, and he incorporated karate movements into his stage performances. Elvis checked into a hospital in Memphis for treatment of exhaustion, although a reporter claimed he might have a prescription drug dependency. In 1977, three of Elvis’ former bodyguards wrote a book about his life, citing Elvis’ drug problems and insisting they were trying to help him. Elvis was forty-two, overweight, and in bad health, but he continued to perform. At a concert filmed six weeks before his death, Elvis forgot some of the lyrics, but his voice was strong and the fans adored him.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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