Original subtitles

Homem: Tudo bem, é uma grande tiro, para ser capaz de estar aqui.

Em espera.

9:12

♪ ♪

Jerry Schilling: A '68 Especial realmente mostrou

A carreira de Elvis em sua totalidade.

Eles levaram a carta original de Elvis

e fizeram-eles mais moderno.

Priscilla Presley: Este foi trazê-lo de volta para o início

mas ainda vai no futuro.

♪ Bem, isso é o meu emprego para baixo não ♪ lavagem de carro

♪ eu deixei minha mãe adeus uma nota ♪

Uma jam session com os músicos originais.

Tinha simplicidade, espontaneidade.

E ele também tinha como peças coreografadas

que realmente foi um reflexo dos filmes

e os anos pós-Exército.

♪ Mas ninguém queria contratar um homem guitarra ♪

♪ ♪

Steve Binder: A verdadeira espinha dorsal do especial

veio de nossos escritores.

Eles trancaram-se em seu escritório

e jogou todos os recordes de Elvis que você poderia encontrar.

Chris Bearde: Nós teceu uma história de Elvis

do seu início para ser um superstar.

Ele deu a todos uma olhada Elvis como músico.

♪ Eu estou esperando que eu posso tornar-me um dólar ♪

♪ música Makin' no meu violão ♪

Priscilla: É engraçado. É contar a história de Elvis, sim,

em um show de variedades.

Tem as meninas. Tem ele tocando guitarra.

Eu olho para trás agora ...

sua vida era tão grande,

Eu não sei se você pode obtê-lo em uma hora. (ri)

♪ ♪

Elvis: ♪ Sim, eu estou indo andar ♪

♪ Em dessa maneira branco leitoso ♪

♪ Oh Lord, some of these days ♪

Elvis: I started out when I was just out of high school,

I started out driving a truck,

and, uh, I was training to be an electrician.

♪ Some of these days ♪

♪ Well, well, well, well ♪

One day at my lunch break,

I went into this little record company to make a record.

The guy put the record out, and overnight, in my hometown,

people were saying, you know, "Who is he?"

♪ I'm gonna walk on that milky white way ♪

♪ Oh Lord, some of these days ♪

I started to play little nightclubs and little football fields.

Like a year and a half, I was doing this, I met Colonel Parker.

♪ My mother howdy, howdy, howdy... ♪

In 1956, they arranged to, uh, to put me on television.

So they dressed me in a tuxedo,

had me singing to a dog on a stool.

♪ My mother howdy when I get home ♪

I went to Hollywood and I did four pictures.

I was really getting used to the movie star bit.

♪ I'm gonna shake my mama's hand ♪

Just overnight it was all-- all changed.

♪ I will shake her hands that day ♪

I got drafted.

♪ That's when we walk ♪

♪ On that milky white way ♪

♪ Oh Lord, one of these days ♪

Choir: ♪ On some of these days ♪

Warren Zanes: Returning from the Army,

coming back home, getting ready to perform again,

it's obviously not the '60s.

Those '60s haven't come yet.

This is pre-civil rights.

Things are happening in that regard,

but it's not really coming to a head yet.

I'm sure he was aware of how much had gone on.

He could've gone in several directions.

Man: Well, Elvis, now you're really home.

How does it feel?

It's pretty hard to describe, I'll tell ya.

It's hard to get used to it, you know?

I mean, I've been looking forward to it for two years,

and, all of a sudden, here it is.

It's, uh...

It's not easy to adjust to it.

Man: Elvis, do you think the music has changed

since you've been out of the service?

I mean, since you've been in the service.

Possibly, yes. I-I... I can't say really.

I haven't been here long enough to even know.

♪ ♪

Elvis: The only thing I can say is if it has changed,

well, I would be foolish not to...

try to change with it, you know?

♪ ♪

John Jackson: When Elvis gets back from the Army,

he was still one of the biggest stars on the planet.

But rock and roll, that force that happened

between '54 and '59,

basically had evaporated while he was away.

And you see, immediately, the results of the Colonel plotting--

"How do I make him as widespread as possible and polish his image?"

Get him on the path towards being a Frank Sinatra

or a Dean Martin,

pop singers who have very long careers.

Alan Light: This was a curious crossroads in his career.

It was open field to see

what was he gonna do and where was he gonna go.

The work that he had done during his time in the Army

broadens the scope of the music

that he was interested in.

Priscilla: He didn't wanna do the same music.

He wanted to grow.

He wanted to evolve in a way

that he could offer something different in his music.

Ernst Jorgensen: With Elvis, it was always about the challenge, the motivation.

He's already in the recording studio in Nashville

two weeks after coming home.

He knew what was at stake,

so did the Colonel and the engineers, everybody.

There was this tension in the room: "What's it gonna be like?"

Man: You ready? (guitar plays)

Let's cut one.

LTWB0081, take one.

(train whistling) ♪ ♪

Elvis: ♪ I just got your letter, baby ♪

♪ Too bad you can't come home ♪

Jorgensen: They all relaxed after just a few takes

because he's so on top of it.

He's been longing for this moment--

both to get his career started

but also to express a new range of music,

his new understanding of music.

Everything he could do.

Elvis: ♪ I ain't slept a wink since Sunday ♪

♪ I can't eat a thing all day ♪

Light: Since the last Ed Sullivan Show appearance in 1957,

the Colonel decided to take Elvis off of television.

He didn't want to give Elvis away

when you could sell tickets in a movie theater.

Jorgensen: But in the relaunch,

he wasn't gonna gamble.

He wanted exposure to make sure they got a head start.

Now it was time to deliver.

Jackson: The Colonel's plan was get Elvis on television

in front of as many people as possible

with the world's other most famous singer.

Make it fun and exciting,

so that now the career can continue. (women screaming)

♪ I know that I ♪

♪ Held nothing ♪

♪ Waa-ooh-waa-ooh ♪

♪ If you should go away ♪

♪ But to know ♪

♪ That you love me brings ♪

Bruce Springsteen: The Sinatra show,

it was a very conservative move at the time.

It was just trying to find his place

after coming out of the Army.

He simply had to believe in himself,

and that's what Elvis did.

♪ ♪

♪ Fame and fortune ♪

♪ My way ♪

♪ Ooh, ooh, ooh, ooh ♪

(women screaming)

Springsteen: Elvis put himself forth as somebody who was not a flash in the pan

mas que estava em uma longa linha de uma tradição de cantoras pop americanas.

Eles estavam dizendo que há uma vida para Elvis depois de Elvis.

Elvis ... (gritos continua)

Eu te digo uma coisa, foi ótimo!

Jon Landau: Eu me lembro quando ele apareceu no especial Frank Sinatra.

Esse show foi muito o oposto

de The Steve Allen Show.

Havia uma atmosfera colegial.

Frank Sinatra e Elvis tinha dois estilos diferentes

mas estavam em um clube incrivelmente exclusivo.

♪ ♪

Nós trabalhamos da mesma maneira única em diferentes áreas.

(riso)

♪ Ame-me macio ♪

♪ Me ame doce ♪

♪ Never Let Me Go ♪

Jackson: Negociação seus próprios sucessos uns com os outros

é o grande momento que o coronel de engenharia para ele.

♪ Aqueles dedos no meu cabelo ♪ (mulheres gritando)

Jackson: Você pode ouvir as mulheres na platéia começar a gritar.

Elvis sexos-lo um pouco.

♪ que retira a minha consciência nua ♪

♪ É bruxaria ♪

♪ ♪ Love me tender (mulheres gritando)

♪ Me ame verdadeiro ♪

Jackson: Sinatra, ele é apropriado "Love Me Tender"

nessa coisa swing. Ele nasceu na batida.

♪ Oh meu querido, eu te amo ♪

♪ E eu sempre ♪

♪ É um passo tão antiga ♪

(Mulheres gritando)

♪ Uma que eu não mudaria ♪

♪ Porque não há nenhuma bruxa mais agradável ♪

♪ do que a bruxaria ♪

♪ ♪ Eu te amo

♪ E eu sempre ♪

♪ ♪

(Harmonização) ♪ Para meu querido ♪

♪ ♪ Eu te amo

Cara, isso é bonito. (riso)

Ambos: ♪ E eu sempre ♪

Jackson: Ele está abraçado pela comunidade

que já tinha colocá-lo para baixo,

e que sinalizou que estava pronto

para assumir esse papel de ícone cultural.

Jorgensen: Você começa esta nova Elvis,

o Elvis que o Coronel Parker queria,

o Elvis que tinha crescido exatamente da mesma maneira

que seu público principal havia ficado mais velho.

Eles foram de adolescentes a adultos jovens.

Então, para ele, foi o lançamento perfeito.

O público aceitou amplamente que,

but, obviously, this was a transition.

♪ ♪

Elvis: ♪ You gave me love to enjoy ♪

♪ Like a bright shiny toy to a baby ♪

♪ ♪

♪ No matter what you would do ♪

♪ I depended on you ♪

♪ Like a baby ♪

♪ ♪

Priscilla: He knew that next album was important.

He gave it a lot of thought.

Light: The Elvis is Back! album reveals new influences,

new interests, new arrangements.

Jackson: He had been getting ready for this mentally

while he was in Germany.

There's a little bit of R&B, there's a little bit of pop,

ballads, country.

♪ ♪

Light: New songs that represented a different vocal approach

than anything he had tried before that.

Elvis: ♪ I was blind, 'cause I just ♪

David Briggs: Sua voz era muito em sintonia sempre,

e isso é porque ele não tem que lutar contra uma banda.

Esses caras eram macios e eles não são empurrá-lo,

e eles não estavam muito ocupados.

Jorgensen: Uma banda teve uma capacidade de baixar toda essa música

que veio de muitas fontes diferentes.

Elvis: ♪ Como um bebê ♪

Jorgensen: Essa foi uma verdadeira magia

de Elvis combinando com esta banda.

Eles compreendido perfeitamente o outro.

(Vocalização Elvis)

Red West: Os músicos foram incríveis.

Bobby Moore no baixo,

Floyd Cramer sem piano.

Homem, uma pessoa uma vez uma vez

e bam, eles estão prontos para ir.

Briggs: Eles eram um grupo muito real.

Alguém jogou qualquer coisa que não foi

com o que estava ali jogando.

Elvis: ♪ Eu preciso alma ♪

Briggs: DJ e Scotty ainda irmãos lá,

mas eles começaram um papel menor e menor

e que fez um pouco mais sofisticado.

Elvis: ♪ Então eu quebrei e chorei ♪

Priscilla: Ele gostou da forma como uma música soava.

Tecnologia, evoluída enquanto estava estava fora.

Jackson: RCA Studios tem um gravador de três pistas.

Que realmente é um profissionalismo técnico

como uma gravação de tecnologia está se movendo para o futuro.

Elvis: ♪ Como um bebê ♪

Priscila: Ele começou a sentir confiança,

porque estas foram suas escolhas de música.

Estas foram as músicas que ele estava cantando na Alemanha.

Essa é uma liberdade que ele queria.

Isso é o que estava procurando.

Elvis: ♪ Como um bebê ♪

Priscilla: E is so that so tão bem rival.

Apenas soprou como pessoas afastadas.

Landau: Elvis, quando ele voltou,

claramente em encontrar as canções e fazer os registros,

foi muito accionado.

Sua visão era muito intacto,

e eu não acho que ele poderia ser distraído.

Zanes: Elvis estava tão sintonizado com o emocional.

Ele estava sempre em busca de música emocional.

Priscilla: Eu perguntei a ele um dia

"O que faz você escolher suas músicas?"

He said, "I wanna be able to reach and feel

what we all go through as human beings."

♪ Ooh ♪

Zanes: This is the mysterious part about music.

How do we know when we're listening to a song

that someone means it?

We just know.

Elvis: ♪ Are you lonesome tonight ♪

Zanes: And the people who mean it

are generally the ones who are processing

some kind of loss through music,

and we can hear them negotiating their loss,

and we connect to it.

Elvis: ♪ Does your memory stray ♪

♪ To a bright summer day ♪

♪ When I kissed you ♪

♪ And called you sweetheart? ♪

David Porter: Those who are truly a recording artist,

you go into the artistic aspect

of what makes whatever you're doing

alive and unique for that song.

So he would lose himself in an artistic way

in order for people to feel it.

Elvis: ♪ And picture me ♪

Porter: That's called soul.

Elvis: ♪ Is your heart filled with pain? ♪

♪ Shall I come back again? ♪

♪ Tell me, dear ♪

♪ Are you lonesome tonight? ♪

Man: Usually when we chat, Elvis, we ask you to, uh,

select your favorite song of all your recordings.

What's the current favorite of yours?

Elvis: I think, uh, "Now or Never."

It's "Now or Never."

♪ Ooh ♪

♪ ♪

♪ Ooh, ooh, ooh ♪

♪ ♪

Elvis: ♪ It's now or never ♪

Jorgensen: Everything was a level up on the '50s.

The three singles, "Stuck on You," "It's Now or Never"

and "Are You Lonesome Tonight?" were number one hits.

It was a true triumph

and a whole new ballgame of what pop music was.

Elvis: ♪ Tomorrow will be too late ♪

Landau: Rhythmically, his sense of time,

his phrasing, musicality, Elvis was impeccable.

Elvis: ♪ When I first saw you ♪

Priscilla: He loved opera singers.

He loved the range of an opera singer.

"It's Now or Never" is very much like that.

Elvis: ♪ My heart was captured ♪

Tom Petty: What he did that was unusual

was he could slide up the scale into a tenor voice

and then back down, you know.

And he's just having fun.

He's sliding all over the scale.

It's so human. It's so real.

Elvis: ♪ It's now or never ♪

♪ Come hold me tight ♪

Light: "It's Now or Never" was adapted from "O Sole Mio,"

the Italian song.

Elvis had always had this interest

in the Italian crooners.

When he was in the Army with Charlie Hodge,

they were exploring that kind of drama in his singing.

That sound, that style became one of the staples

of Elvis's musical range from then on.

Elvis: ♪ Just like a willow ♪

Jorgensen: It's about challenge.

It was the challenge that made him do that extra thing.

And hitting the high notes at the end

on "It's Now or Never" was the challenge.

Elvis: ♪ And sweet devotion ♪

Jorgensen: He can't really reach it, and the engineer says,

"We can cut the ending only," and Elvis goes back and says,

"No, if I can't sing it the whole way through, I'm not gonna do it."

Elvis: ♪ For who knows when ♪

Priscilla: He challenged himself.

He got a thrill out of hitting a note so high.

Elvis: ♪ It's now or never ♪

♪ My love won't wait ♪

♪ ♪

♪ É agora ou nunca ♪

♪ Meu amor não vai esperar ♪

(Folk Music playing)

♪ ♪

♪ Você não consegue ver que eu te amo? ♪

♪ Por favor, não quebre meu coração em dois ♪

♪ Isso não é difícil de fazer ♪

♪ Porque eu não tenho um coração de madeira ♪

(riso)

♪ E se você disser adeus ♪

♪ Então eu sei que eu choraria ♪

Jorgensen: Para Elvis ter que fazer GI Blues,

refletindo seus dois anos no exército

de uma forma que provavelmente não se compara muito ao que era,

Eu não acho que ele realmente gostou disso.

GI Blues foi um tipo de família de filmes

movendo a imagem de Elvis em uma direção completamente diferente

dos personagens muito jovens e agressivos dos filmes dos anos 50.

Mas ele recebeu a promessa de que haveria dois filmes

para a 20th Century Fox, seguindo isso,

que eram papéis sérios.

Pode ter sido uma barganha razoável para Elvis na época.

Priscilla: Quando ele descobriu as músicas que ele tinha que fazer em GI Blues,

ele disse: "Baby, eu não sei como isso vai acontecer.

Estou um pouco desapontado ".

Jorgensen: As músicas que eles tiveram que encaixar no enredo,

mas musicalmente, eles não estavam onde Elvis estava.

Ele faz um compromisso.

Essa foi a parte realmente desanimadora de Elvis.

A trilha sonora do GI Blues,

foi o álbum de maior sucesso que eles fizeram.

Ele vendeu muito mais do que o álbum de estúdio absolutamente brilhante

que saiu alguns meses antes.

Schilling: Elvis agora é um grande negócio.

Então, ao invés de sair,

recebendo os melhores compositores em geral,

Hill & Range, do coronel,

estavam contratando um casal de compositores

para escrever músicas de Elvis.

Briggs: Eles trariam todo o material,

que foi a regra tácita.

Ninguém mais foi permitido

para trazer qualquer música na sessão.

Isso foi muito rigidamente controlada pelo coronel,

pela editora,

e pela gravadora.

Oeste: O coronel finalmente começou a ficar

uma porcentagem de tudo.

Ele era um homem de negócios.

Ele não dava a mínima se valeu a pena uma porcaria.

Schilling: Elvis poderia me importar menos sobre a composição,

publicação em geral.

Algumas delas, ele recebeu e entendeu,

mas ele se preocupava mais com bom material.

Petty: Foi mais sobre o Coronel possuir a publicação,

que era uma enorme pedra no lugar dele o resto de sua vida.

Foi esse negócio de "Devemos possui os direitos autorais

ou nós não queremos que você faça isso."

Priscilla: Elvis disse: "Eu estou começando a sentir a pressão.

"Eu sou obrigado aqui.

I don't think there's a way out for me."

And I said, "Well, can't you talk to Colonel?"

And that's when I think he started getting disillusioned.

Basically, Colonel was part of it.

Already, he's feeling that he's not in control,

and this is really early on.

Gladys Presley: ♪ Oh, home sweet home ♪

♪ There's no place like home ♪

(song continues)

Priscilla: I already had a feeling of what Graceland was like

through Elvis's description.

He told me in Germany,

"I want you to come and see Graceland."

And he would give me images.

When I came, the first time,

he told me to close my eyes, and not to open them.

We're driving, and then he said, "Open them."

The gates of Graceland open up.

It was everything that he'd described.

It was bigger than life for me.

His safe haven.

Schilling: Graceland always represented

something more than just a house to Elvis.

Light: Graceland was something initially

that he had bought with and for his parents,

and it reminded him of his mother,

her presence and her influence in his life,

which didn't end after she died.

Priscilla: I opened up a closet

and it was filled with her clothes.

And I had such a sense of her.

She liked soft fabric.

Her hats, her shoes--

he hung on to those personal things.

Even though it had been a few years,

there was still a lingering scent there, of her.

It really showed me the love that he had for her.

Elvis: She never really wanted anything,

you know, anything fancy.

She just stayed the same all the way through the whole thing.

There's a lot of things happened,

and there are times when it feels like

I don't know what I'm gonna do next, you know?

Light: Once he got back to Graceland

and wanted to reconnect with the spirit he was brought up in

and the memory of his mother,

the best way was to go back to the music

that he had grown up with.

Zanes: The theme of return,

and in Elvis's case, a return to gospel,

is part of how we all experience music.

There are these profound experiences

that happen with music at a younger age.

Through our lives, we're often chasing them.

If you were raised in the proximity of gospel,

that's what launched you into the world of emotional music.

West: He was getting into another phase in his life,

and gospel, religious music, was his favorite,

and that's why he did it.

Jorgensen: Just on the heels of G.I. Blues,

he goes in and records a complete album of gospel music

with songs from all his old heroes:

Blackwood Brothers, Golden Gate, Statesmen Quartet.

It's a tribute to everything he came from,

and he does it with a voice at his best ever.

Elvis: ♪ Why don't you swing low, sweet chariot ♪

♪ Stop and let me ride ♪

Tony Brown: It was so close to those records

that the Statesmen and Blackwoods were making.

It could've been those records.

Jorgensen: He had the Jordanaires as the key element

of developing a gospel feel

with a band feel that was true to the music

on the Elvis is Back! album.

Elvis: ♪ Let me ride ♪

♪ Rock me, Lord, rock me, Lord ♪

Jorgensen: Obviously, it's not really rock and roll,

but there's drums and there's saxophones.

There's a lot of swing to it.

♪ Sweet, sweet, sweet, sweet ♪

Elvis: ♪ Well, well ♪

Petty: The way he blended them together

is an incredibly original thing to do.

Sometimes, you know, he wasn't traveling very far away from the gospel.

I mean, some of it, it was just about putting a beat to it.

Elvis: ♪ Wasn't so particular about the chariot wheel ♪

Petty: That angle of the two and the four are

slightly different than gospel good.

Elvis: ♪ Why don't you swing down, sweet chariot, stop ♪

♪ And let me ride ♪

Jorgensen: You have a feeling that he's truly enjoying this.

It's a very joyous record to listen to.

Schilling: His Hand in Mine was a passion.

The whole gospel influence was as much a part of him,

and maybe even more so as the rhythm and blues.

This was just his opportunity to get it out.

Priscilla: And it was a mission to show others,

the listeners, that in these choices of music

and how it's embellished,

really what Elvis was looking for as an artist,

to have that freedom.

It's that simple.

Elvis: ♪ Just wanted to lay down this heavy load ♪

♪ Why don't you swing down, sweet chariot ♪

♪ Stop, let me ride ♪

Man: How's Blue Hawaii going?

Elvis: It's going on very well.

We leave tomorrow for Kauai, you know. Yeah.

I think we'll be there for about 10 days.

Man: Tell us about Blue Hawaii a bit.

Elvis: There's about 11 songs in it.

Some Hawaiian tunes? Yeah.

You got some special material written for you for the picture?

Elvis: Yeah, we had about 10 songs written especially for the picture.

We do that, you know, before the picture starts.

♪ ♪

Jorgensen: The film Blue Hawaii was an overwhelming success.

That is the point where it gets real interesting.

Jackson: The two dramas,

Wild in the Country and Flaming Star,

they're not as music heavy, and they actually lose money.

Priscilla: And that's when they told him,

"This is proof. This is what the public wants.

"People just wanna hear your music.

They wanna hear you sing in movies."

(crowd cheering)

Schilling: The last concert he played, for almost a decade,

was a charity show near Pearl Harbor.

♪ ♪

(women screaming)

Elvis: ♪ Well, so long ♪

Jackson: That was like the ultimate charity show,

because it was for the building

of the Pearl Harbor memorial.

Couldn't be more patriotic.

Couldn't have been more of a cause

that people could get behind.

He's back, he's served his time.

He's a great patriot.

It was more to build that piece of the story

that the Colonel wanted to tell.

He's cleaned up and he's a good boy.

Elvis: ♪ Let you go ahead on, baby ♪

♪ Pray that you'll come back home some time ♪

Boots Randolph. (women scream)

Jackson: The band that he brings with him is very interesting.

He has Scotty and DJ,

but he brings with him his all-star

Nashville, session guy band,

including Boots Randolph, who was a great saxophone player.

♪ ♪ (women screaming)

Jackson: Boots Randolph brings in a lead instrument

that can balance out Elvis's singing

in a way that Scotty playing rockabilly licks

didn't do previously.

So it just becomes a much more full sound.

♪ ♪

Light: It's a tragedy that he didn't continue

to play live for people at that point.

But the Colonel knew that the films

got Elvis in front of millions of people simultaneously

with as little work as possible.

Landau: The post-Army films, I went to them.

They were a separate category for what happened in the '50s.

He finds himself in a situation

where he's just churning out stuff

that he couldn't possibly have believed in.

Elvis: ♪ I said, take it easy, baby, I worked all day ♪

♪ And my feet feel just like lead ♪

♪ You got my shirttails flying all over the place ♪

♪ And the sweat poppin' outta my head ♪

♪ She said, Hey, bossa nova, baby, keep on workin' ♪

♪ For this ain't no time to quit ♪

♪ She said, Go bossa nova, baby, keep on dancin' ♪

♪ I'm about to have myself a fit ♪

♪ Bossa nova, bossa nova ♪

Schilling: The Colonel negotiated contract after contract.

MGM, Paramount, United Artists, you name it.

Hal Blaine: He was inundated with work, work, work, work.

Elvis: ♪ I can dance with a drink in my hand ♪

♪ She said, Hey, bossa nova, baby, keep on workin' ♪

♪ For this ain't no time to drink ♪

Blaine: Everybody was trying to get every penny they could

out of whatever they could.

♪ Bossa nova ♪

♪ ♪

Jackson: He had to make three movies a year.

So these soundtrack albums became a big part

da obrigação contratual para liberar a música com a RCA.

Elvis: ♪ Bossa nova ♪

Oeste: Que não era sua música.

Estava matando sua carreira de gravações,

Porque eles eram canções do filme, canções de situação.

Priscilla: Obviamente, em alguns dos filmes, você tem alguns sucessos...

"Viva Las Vegas", "Bossa Nova Baby".

Eles não eram tão maus,

Mas porque era ligado ao cinema,

Não era como um disco real.

As canções tinham que ajustar a cena.

Jorgensen: E o Coronel obviamente sabia que o melhor formato

foi meninas e belos locais.

Robbie Robertson: Eu pensei que era terrível, direção...

a ideia de fazer um monte de filmes piegas-cu,

Onde isto está tudo sendo levado? É terra de ninguém.

Petty: Que..--ele certamente sabe que essa música é uma porcaria.

Os filmes eram muito prejudiciais para sua imagem.

Como um inovador, como um grande músico,

Eles eram prejudiciais.

Ele é muito talentoso. Quer dizer, ele é muito presente.

É uma imagem incrível dele.

Mas onde ele teve um bom começo no cinema

e fez algumas coisas criativas logo no início,

e você podia ver que havia um grande potencial para esse cara,

havia realmente nenhuma maneira para ele

para se tornar a grande estrela de cinema

que ele teria gostado de ter sido

e o Coronel manter o controlo do mesmo.

Você sabe, há muitos

aspectos criativos que vai para entrar,

e eles vão para o desafio

mentalidade de Carnaval do Coronel.

Coronel Tom Parker: Bem, não, não, não, não, não. Não, não, não.

Até onde eu estava preocupado,

Eu não estava envolvido, além de fazer o contrato.

Ele teve a oportunidade de dizer, "não quero fazê-lo

ou gostaria de fazê-lo."

Ninguém disse que ele tinha de fazer uma foto

que ele não queria fazer.

Quando tivemos um script, nós iria entregá-lo para o Elvis.

Xelim: Elvis recusou uma foto ruim.

Entra o Coronel,

em vem dos estúdios,

entra a gravadora.

Eles diziam-lhe,

"Você não cumprir seus contratos,

Você não vai fazer nada."

♪ Bem, vamos lá todos ♪

♪ e vire a cabeça para a esquerda ♪

♪ ♪

♪ Vamos todo mundo ♪

Jackson: Em Viva Las Vegas,

é o mais próximo que ele nunca vai ter uma verdadeira co-estrela.

Respire profundamente e repita depois de mim ♪

Jackson: Isso torna-se um problema para o Coronel,

Porque ele não quer ninguém até mesmo

chegou perto ofuscando o Elvis.

♪-Ei, Ei, Ei e meu bebê me ama ♪

Coro: ♪ meu bebê me ama ♪

♪ Meu bebê me ama ♪ coro: ♪ meu bebê me ama ♪

♪ Meu bebê me ama ♪

♪ eu disse, meu bebê...

Ha! ♪ ♪ Meu bebê

♪ me ama ♪ Ha! Ha! Ha! Ha! Ha!

Ann-Margaret (rindo): Wee-ha!

Fichário: O Coronel não queria Ann-Margaret em seu mundo

Depois que ela deve ter um monte de imprensa.

Todos os que tiveram influência sobre Elvis era uma ameaça.

Landau: A tragédia do velho estilo de gestão

era tentar manter o controle do artista

limitando sua exposição às oportunidades.

O Coronel não estava interessado

in Elvis becoming too independent of a thinker.

He needed Elvis to think that everything good came from the Colonel

and anything bad came from imagined enemies.

He kept that con game going for much too long.

Zanes: The years spent chasing the movies,

you know, seven years,

they were very destabilizing for Elvis,

because music was always the buoy.

Jackson: It's clear about halfway through that period,

he becomes very restless,

and very annoyed with the whole process.

Schilling: Elvis didn't have script approval.

There weren't great budgets.

Priscilla: The humdrum movies that he was given--

boy chase girl, boy gets girl,

they get married, and it's happily ever after--

that was not Elvis Presley.

He was not that man.

He was much deeper than that.

He had no inspiration whatsoever.

He knew he had to make it work.

He knew he was under a contract,

and he walked through every one of them.

After a movie, he felt trapped.

He dreaded the next script,

because he knew it would be the same thing over and over again.

But the disconnect,

the disconnect in the two

was really wearing on his mind--

that Colonel was not taking him to the place he needed to be.

Petty: This is what we'll never understand

is why did Colonel Parker have

this kind of influence over him.

Why was he willing to knowingly humiliate himself for this man,

or for the money promised him by this man?

He puts up with it.

Porter: I have never felt Elvis was lost.

He knew with all those movies,

as is the case with every artist,

that they're taking themselves away from their strength.

Many artists can't get back to where their strengths are.

Emmylou Harris: An artist has to constantly grow,

and to continue creating,

and changing, and being inspired by things around him

in a spiritual or a personal way.

♪ ♪

Elvis: I'd like to stay in the same vein.

I-I mean, I wouldn't like to, uh,

be at a standstill, you know what I mean?

I'd like-- I'd like to progress.

I'd like to do a lot of things, but I...

I realize, uh, that it takes time,

and you can't, uh,

you can't go out of your, uh, capa-- uh, your limitations.

You have to know your capabilities, you know.

Like I have people to say to me all the time,

(stammering)

"Why don't you do an artistic picture?

"Why don't you do this picture and that picture?

Why don't you go do something blah, blah?"

Well, that's fine, but, uh...

Uh, I would like to.

I'd like to do something someday

where I feel that I really done a good job.

You know, as an actor in a certain type role,

if what you're doing is doing okay,

you're better off sticking with it until, you know,

until just time itself changes things.

♪ ♪

Zanes: The great irony is that Elvis was such a significant force

in the launch of rock and roll,

and the very revolution that he sparked

carries on without him.

There is a renaissance that is underway,

and he is, in effect, in a bubble in Hollywood,

as it passes him by.

Priscilla: '63, '64, '65, when all the bands were coming in,

he just didn't really wanna hear music.

He didn't wanna hear the songs.

Was there room for him now, being a solo artist?

Elvis really wasn't interested in writing his own music,

and all these other groups coming up,

The Beatles, Bob Dylan, the Beach Boys,

they all wrote their own songs,

so they could direct their careers

in a way Elvis couldn't.

Petty: There is no road map at this point

as to what a rock and roller does

when he gets older.

The Beatles had each other.

You know, they had four people together to go through it.

And Elvis was totally alone.

There was no one vaguely his equal.

There was nobody he could bounce anything off of.

Priscilla: Elvis really didn't ask for anybody's advice.

He didn't ask the guys for their advice.

Oh my gosh, he would never.

I mean, you didn't tell Elvis what to sing

or what movie he should be in.

Elvis was truly his own man.

He needed someone to come in with a game plan and offer it to him.

"What do you think of this?"

But he hung out with the same people all the time.

We all lived in this bubble.

Very few outsiders came in.

His world was really quite small,

and only consisted of us, people that he trusted.

You didn't really talk about the movies around Elvis.

We didn't go there. Why get him upset?

And people-- the guys were around to bring him up.

Schilling: Elvis was going to us and saying,

"Damn it, I know there's good music out there.

I hear it. Why am I not getting it?"

Petty: You can tell his interest in making records

has kind of gone away.

You don't get him in the studio a lot.

Priscilla: He was just struggling with what to do next

and where to go, trying to figure out his purpose again.

It was very difficult to watch.

♪ ♪

Odetta: ♪ How many roads ♪

♪ Must a man walk down ♪

♪ Before you call him a man ♪

Light: By this point,

Elvis had grown so disconnected from the music

that he was recording.

He knew that it was inauthentic.

He knew that it was insincere.

And he was looking for some connection to music

that still made him feel the way

that music had made him feel when he was younger.

Odetta: ♪ How many times ♪

♪ Must a cannonball fly ♪

Light: He was interested in this new folk music--

Peter, Paul, & Mary, the songs of Bob Dylan.

He didn't love Bob Dylan's voice,

but he was interested in this imagery

and this language that drew from the gospel and the blues.

Priscilla: And here he has Odetta singing.

When you hear the song,

now you've got the lyrics that match his feelings,

you've got the lyrics that he can see himself singing.

Odetta: ♪ Only if my true love was waitin' ♪

♪ ♪

♪ If I... ♪

Zanes: Many of his relationships

with the culture of the day were circuitous,

because he was Elvis and he was behind a-- a high wall.

Elvis: ♪ Only she was ♪

♪ Lying by me ♪

♪ Then I'd lie ♪

♪ In my bed once again ♪

♪ ♪

Priscilla: Elvis, a lot of times when everyone had gone to bed,

or there was no one around,

he would go into the music room at Graceland.

Just sit there totally in solitude,

as if even I wasn't around, and just start playing.

Always it was gospel.

Always it was "Precious Lord."

Elvis: ♪ Precious Lord ♪

♪ Take my hand ♪

Priscilla: When he would sing,

it was like a character study watching him get lost.

Elvis: ♪ I'm tired ♪

♪ I'm weak ♪

♪ I'm worn ♪

♪ Through the storm ♪

Priscilla: And then, he'd look over to see how I was relating to it.

He'd look over and wink at me.

Elvis: ♪ Lead me on ♪

Priscilla: Those were times that I cherish the most, actually.

He wasn't really trying to impress anyone.

He was doing it for himself

and just getting in touch,

getting in touch with his maker.

It was a plea.

Elvis: ♪ Well, you may run on for a long time ♪

Chorus: ♪ Run on for a long time ♪

Elvis: ♪ Run on for a long time ♪

♪ Let me tell you, God Almighty's gonna cut you down ♪

Jorgensen: He didn't have a burning desire anymore

to record songs.

Elvis: ♪ Midnight rider ♪

Jorgensen: The real interesting element in that

is that when he regains his appetite for recording

and wants to prove a point in 1966,

he makes a gospel record again.

Elvis: ♪ Talkin' to the man from Galilee ♪

Jorgensen: During the middle of The Beatles,

and The Birds and The Stones,

and Elvis makes a gospel record when he wants to come back.

Elvis: ♪ Great God Almighty, let me tell you what he said ♪

♪ Go tell that long-tongued liar ♪

♪ Go tell that midnight rider ♪

♪ Tell the gambler, rambler ♪

Light: Elvis is connecting to new music.

He wants a more modern sound,

a more aggressive rhythm section,

a rock and roll mix.

Elvis: ♪ Run on for a long time ♪

♪ Let me tell you, God Almighty's gonna cut you down ♪

♪ You may throw your rock and hide your hand ♪

Springsteen: I think Elvis's return to gospel

was a part of simply the deep religiousness of the South

and his upbringing.

But in the late '60s, people were having a hard time

looking past the kitsch aspect

of some of the things that Elvis did.

Elvis: ♪ You gonna reap just what you sow ♪

Springsteen: To appreciate that music,

that stuff couldn't bother you.

Chorus: ♪ Long time ♪

Elvis: ♪ Run on for a long time ♪

(film projector whirring)

♪ ♪

Man: What do you think of yourself now?

Elvis: You mean, uh, as an entertainer

or an individual or what?

Man: Both.

Elvis: I can sum it up fairly easily.

I, uh, as a-- as a human being, really,

who's been very extremely fortunate in so many ways...

I've a lot that I'd like to do,

a lot that I'd like to accomplish.

I'd like to get married. I'd like to have a family.

I suppose the most important thing

in a person's life is, uh, is happiness.

I mean, not wordly things, because...

You realize, I mean, you can have cars.

You can have money. You can have a fabulous home.

You can have everything.

If you're not happy, what have you got?

♪ ♪

Priscilla: I was very young and very in love,

and I wanted to be with him a lot.

The times that we were together,

I-I cherished.

♪ ♪

♪ ♪

Woman: ♪ I picked up my bag ♪

♪ And went looking for a place to hide ♪

♪ When I saw old Carmen and the devil ♪

♪ Walking side by side ♪

Springsteen: I mean, 1968 was a wild

and violent year in American history.

Woman: ♪ She said I gotta go ♪

♪ But my friend here can stick around ♪

Light: At the beginning of the year, Lisa Marie is born.

And then a couple of months later,

Martin Luther King is assassinated.

Woman: ♪ Take a load off, Fanny ♪

Schilling: We were making a movie at MGM

when we heard on the radio about Martin Luther King.

King was that hope to bring us all together,

and Elvis knew that.

Elvis looked down and he said,

"He always told the truth."

Woman: ♪ It's just old Luke ♪

♪ And Luke's waiting on Judgment Day ♪

Light: There's this contentious presidential election going on.

Bobby Kennedy is assassinated.

There's chaos at the Democratic convention in Chicago.

Woman: ♪ Baby now, won't you stay ♪

Priscilla: Things were just in disarray,

and it was never the same after that.

♪ ♪

Nik Cohn: By '68,

most Elvis fans had, more or less, given up the ghost.

There'd been so many poor movies,

so many throwaway singles.

Jackson: Elvis starts to think about,

"Okay, so how can I play live again?

There's no infrastructure for me to do that."

Landau: A couple of really bright guys who got Elvis

talked their way into making a TV special.

Sua missão era lembrar a todos

apenas quem era Elvis,

e quem ele ainda era--

em certo sentido, para apagar os últimos sete anos

das trilhas sonoras do filme.

Light: Quando a oportunidade para o especial de TV é apresentada,

ele não se apresentou para uma audiência por anos.

Priscilla: Ele estava realmente pensando o que ele faria

se tudo desse errado.

Essa foi a carreira dele. Esta foi a sua vida.

Este foi o momento de perceber que é isso,

que isso vai ser um fracasso completo

ou vai mudar tudo.

Springsteen: Bem, eu lembro que esperei

por semanas para o '68 especial

porque eu sabia que estava chegando.

Eu posso lembrar exatamente onde a nossa TV

foi criado na sala de jantar,

the exact place I was sitting.

I mean, it's one of those things

that's imprinted on my memory forever.

But you weren't sure if he had the ability to focus

and gather it all together one more time

to create musical explosiveness.

Host: Uh, welcome to NBC,

and the Elvis Presley Special.

(cheers, applause)

You can do better than that. I'm gonna say it all over again.

Now, I wanna really hear something.

Schilling: When I went with him to NBC,

he was very quiet.

He didn't know how people were gonna feel about it.

Priscilla: He was extremely nervous that night.

It's all new again,

and I'd never seen Elvis perform live before.

I didn't really know what to expect.

Binder: We didn't know where it was gonna go, period.

Just before it began, on the first taping,

Elvis called me into the makeup room.

He was sitting there and he asked everybody in the room to leave,

so he could just be with me one on one.

I said, "What's-- what's the problem?"

"Problem is I changed my mind.

I don't wanna do this."

Man: May we strike the coil and cable off the platform, please?

Priscilla: We weren't seeing, sitting in the audience,

what was going on.

I'd stayed away from the dressing room.

He didn't want anyone around.

I was sitting there going, "Oh my gosh," you know.

"Is he gonna be able to pull this off?"

Binder: I said, "What are you talking about?"

And he said, "I don't remember anything I sang in the dressing room.

"I don't remember any stories that I told.

"My mind is a blank, Steve.

Let's just call it off. It's not gonna happen."

Binder: I said, "Elvis, I've never asked you to do anything

that you don't wanna do..."

Host: Mr. Elvis Presley. (crowd cheering)

Binder: "...but you've got to go out there."

♪ ♪

Thank you very much.

Schilling: I don't know how this happened,

but I saw him relax.

Elvis: They want me to sit on the floor!

(women cheer)

(playing guitar)

♪ ♪

(band joins in)

Man: ♪ It's all right ♪

♪ It's all right ♪

♪ It's all right ♪

♪ Yeah, man ♪ ♪ It's all right ♪

♪ It's all right ♪

♪ It's all right ♪

(Elvis growls) ♪ It's all right ♪

Oh, yeah!

♪ ♪

Binder: Eu não tinha conhecimento ou compreensão

sobre como incrivelmente talentoso ele realmente era até aquele show.

♪ ♪

Zanes: Ele está tendo uma experiência no momento.

Durante os anos ele estava fazendo filmes de Hollywood,

você nunca chegou a vê-lo no momento.

(gritando)

Sim baby!

♪ ♪

(falando indistintamente)

♪ Estamos subindo, descendo ♪

♪ Estamos subindo, descendo, subindo do jeito que você quiser ♪

♪ Vamos rolar ♪

♪ Sim, sim, sim ♪

♪ Você me faz o que você me quer ♪

♪ Oh baby, o que você quer que eu faça? ♪

Schilling: A interação com Scotty e DJ

Quem está tocando bateria na parte de trás de um violão.

DJ Fontana: Parecia que estávamos em casa novamente.

♪ ♪

Yeah!

♪ All right ♪

Hep, hep, hep, hep, hep, hep!

Boones Howe: Those are guys who grew up together,

and they suddenly have a moment

of reflection.

The past, their early days.

♪ Down, any way you wanna let it roll ♪

Cohn: He was rediscovering the sheer animal joy

of making music, and realizing, for the first time in years,

just how good he was.

♪ Baby, what do you want me to do? ♪

♪ You got me doing what you want me ♪

♪ Oh baby, what do you want me to do? ♪

(applause) Man: All right! You got it!

Landau: That show was 1,000% Elvis.

His fingerprint was on the first frame to the last frame.

He was a man on a mission.

Priscilla: And that night when it premiered on TV,

we were all silent.

We just sat there and watched the show

and never said a word.

And then, of course, the telephone calls were coming in, and reviews.

And, oh my gosh, it was such a relief.

It was so great to see him smile again.

♪ ♪

Elvis: ♪ We're caught in a trap ♪

Schilling: After the comeback special,

Elvis didn't have to look too far

to find his way back to the source.

Elvis: ♪ Because I love you too much, baby ♪

Springsteen: It was the old story.

You could take the boy out of Memphis.

You really couldn't take Memphis

out of the boy, you know?

The roots that you come from

are always compelling to return to

no matter how far away you get.

Schilling: By that point, he only had a couple of movies left.

And so when he went back to the studio,

he wanted to do things differently.

Preston Lauterbach: Elvis returned home to restart

his career as a recording artist,

with local musicians,

with a local producer in a little humble storefront, north Memphis,

that's where Elvis returned to essentially save his career.

♪ ♪

Porter: Chips Moman, his job was writer and producer.

Lauterbach: He had evolved from Stax Records

as a producer primarily associated with soul

and with black artists.

But Chips was one of these trans-racial kinda figures.

He thought in terms of style, in terms of sound.

And he really did embody Memphis music.

Elvis: ♪ Asking where I've been ♪

Priscilla: It was the greatest sessions, the greatest.

My gosh, I mean, he came alive again.

He was liberated.

It was, uh, a beautiful marriage. (chuckles)

Elvis: ♪ We can't go on together ♪

♪ With suspicious minds ♪

♪ And we can't build our dreams ♪

Schilling: He told Elvis, "I have a stack of records here

"I think are hits,

"and you don't have any publishing.

What do you wanna do?"

Elvis: ♪ Oh, let our love survive ♪

Schilling: Elvis said, "Chips, I need hit records."

Elvis: ♪ I'll dry the tears from your eyes ♪

♪ Let's don't let a good thing die ♪

Petty: He decides he's gonna sing contemporary material.

Publishing be damned. He's gonna do what he wants.

Elvis: ♪ Lied to you ♪

♪ Ooh ♪

♪ Yes, yes ♪

♪ We're caught in a trap ♪

West: The songs, every one of 'em, was a hit.

That's the biggest sales Elvis had had ever.

Elvis: ♪ Love you too much baby ♪

Schilling: You would think that would've been

the next recording session.

Never recorded with Chips again.

Elvis: ♪ I can't walk out ♪

(match strikes, flares)

♪ ♪

Ronnie Tutt: August '69, he got a chance to play live

at the International Hotel.

Schilling: Vegas was a huge event for him.

Back in the '50s, he wasn't accepted too much then in Vegas.

Howe: Vegas, it's not about teenyboppers.

It's aimed at a particular audience--

people interested in a show that's there,

so that they'll stop in the casino,

on the way in or out, and drop some money.

Petty: Their burning thing to go to Las Vegas

and play long stands, you know,

that doesn't happen till they've virtually run aground in the film business.

There isn't a single studio

that will throw down any significant money

for Elvis in a movie.

So, they look around go, "Well, what we gonna do now?"

Elvis is going on stage, you know. Thank God.

And "You Don't Have to Say You Love Me, and, uh... (indistinct)

Schilling: I was able to witness him put a band together.

When he goes out to Vegas,

he's really making decisions

that are a little more for Elvis

than what came before.

Zanes: He's wanting to play with the band.

He's wanting to go through a deep catalog,

you know, big parts of which remind him or his own youth.

♪ Well, you may go to college ♪

♪ May go to school ♪

♪ You may get religion, baby ♪

♪ Don't you be nobody's fool ♪

♪ Now baby, come back, baby ♪

Tutt: I personally went to him and said, "Elvis,

"I wanted to know if you wanted me

"to try to duplicate classic songs.

What was done previously."

He said, "Absolutely not.

Just do what you do, that's why you're here."

I thought it was good that he would try different songs

that he liked the sound of.

Glen D. was the arranger,

and he would write these great arrangements for him,

and they would-- they would be exciting.

Elvis: ♪ Come back, baby, come ♪

♪ Come back, baby, I wanna play house with you ♪

Elvis: Then it goes into this one.

I wanna try something.

And since, this is last verse...

Schilling: I think the vocals were just as important to Elvis.

Okay. The horns are answering it then.

Schilling: He had to have The Sweet Inspirations.

They had been working with Wilson Pickett and Aretha Franklin.

♪ Talk in everlasting words ♪ ♪ Talk, words ♪

♪ And dedicate them all to me ♪

♪ Dedicate them all to me ♪

Cissy Houston: Elvis did whatever he wanted to do.

If he was feeling it, we had to feel it too.

And we could connect,

because we were from gospel.

We were raised gospel.

♪ You think that I don't even mean ♪

♪ A single word I say ♪

♪ It's only words ♪

♪ And words are all I have ♪

♪ To steal your heart away ♪

Schilling: Colonel Parker, he had billboards all over.

There was a vibe.

Everybody knew that Elvis was there.

He was a nervous wreck.

It's one thing to have a small invited audience.

Now he's going on the biggest stage in the world.

It's Las Vegas.

This is the nitty-gritty time

as far as being nervous, you know.

Opening night, man.

West: He was excited, and also nervous.

He didn't know exactly how he was gonna be received,

and he wanted the best of everything.

Tutt: There were all these big goals as far as attendance,

and he had a very competitive nature.

So he wanted to be able to be as powerful

and popular as Sinatra, Tom Jones.

He wanted to take his music to a whole different level.

(drums roll, play rock beat)

(band joins in)

Priscilla: The first time I ever saw him on stage,

was the first time he played in Vegas in '69.

The '68 special, it was more of a controlled environment.

It was for television.

But in Vegas, to actually see him walk out there

and own that stage,

it was like, "Oh my gosh, I get it.

I get it!"

♪ Well, that's all right, mama ♪

♪ That's all right with you ♪

♪ Tudo bem, mamãe ♪

♪ Do it any way you do ♪

♪ That's all right ♪ ♪ That's all right ♪

♪ Yeah, that's all right ♪ ♪ That's all right ♪

♪ That's all right, mama ♪ ♪ That's all right ♪

♪ Any way you do ♪

♪ Well, Mama, she done told me ♪

♪ Papa done told me too ♪

♪ Son, that gal you foolin' with ♪

♪ She ain't no good for you ♪

♪ Well, that's all right ♪ ♪ That's all right ♪

♪ Yeah, that's all right now ♪ ♪ That's all right ♪

♪ That's all right now, mama ♪

♪ Any way you do ♪

Play it.

♪ ♪

Priscilla: I remember looking around.

They're all applauding.

So drawn into him.

I'd never seen anyone control an audience that way.

It was like he rehearsed that show all his life.

(Elvis scatting)

♪ That's all right ♪ ♪ That's all right ♪

♪ Yeah, that's all right ♪ ♪ That's all right ♪

♪ That's all right now, mama ♪

♪ Any way you do ♪

♪ Well, that's all right now, mama ♪

♪ Any way you do ♪

(song ending) (cheers and applause)

♪ ♪

Woman: ♪ There's a place on Lonely Street ♪

♪ They call it Heartbreak Hotel ♪

♪ Where brokenhearted lovers go ♪

Schilling: It was great, staying up all night, being in Vegas.

We never left the hotel.

But psychologically,

at a point, it weighs on you,

and you may not even know it.

Woman: ♪ Heartbreak Hotel, where I'll be ♪

♪ I'll be so lonely ♪

♪ I'll be so lonely, I could die ♪

♪ Although it's always crowded ♪

♪ You still can find a room ♪

♪ For brokenhearted lovers ♪

Schilling: Thirty days, 61 shows, first engagement.

Six months later, the second engagement.

The third engagement.

Woman: ♪ Die ♪

Schilling: Playing that much for weeks on time,

not seeing daylight.

Dave Marsh: Locked up in a hotel room, what is there to do?

Talking to the same 15 guys every day?

Bored out of your mind,

and it all kind of conspires to make Elvis vulnerable

in ways that if he had a more rational life,

he would not be vulnerable.

Woman: ♪ You got a tale to tell ♪

Bearde: And that's when the Colonel took over

and went back into modus operandi.

Let's see as much money as we can make out of Elvis for as long as we can.

Tutt: It worked great in the beginning.

It just got to be same old stuff.

Woman: ♪ Die ♪

Tutt: He realized that fans want to hear the hits--

kind of painted himself into a corner, so to speak.

(cheers and applause)

Brown: Back in those days,

there was a dinner show and then a late show.

So all the tables up front,

they were serving dinner and drinks and stuff.

And the only people that could afford the up-front seats

were the high-rollers, the older cats.

Elvis needed connection with the audience.

And Vegas, it was a very reserved, rich crowd

dressed up for the Elvis show.

It frustrated Elvis that he couldn't quite seem

to get the mayhem going.

Priscilla: He felt like really what he needed

was to get outside of Vegas and go out

and get connected with people

though he hadn't been on tour for over 13 years.

Man: What, uh, what made you decide to come to Texas?

Well, I think the most important thing is the, uh,

the inspiration that I get from a live audience. I was missing that.

♪ Well, I never been to Heaven ♪

♪ But I've been to Oklahoma ♪

♪ Well, they tell me I was born there ♪

♪ But I really don't remember ♪

♪ In Oklahoma ♪

♪ Or Arizona ♪

♪ Yeah, what does it matter? ♪

♪ What does it matter? ♪

Landau: Back in the 1970s,

I was working for Rolling Stone.

They sent me to Boston to review an Elvis concert.

"He stands there in a black jumpsuit,

"gold spangles and an orange cape.

"When he stretches out his hands,

"the cape forms a half-sun

"under his outstretched arms,

and he looks like the true king of rock and roll.

"He parades in front of 15,000 people,

"and waits for the applause to wash over,

"and it comes as it always does

"and as he knows it will.

"Elvis Presley has lived through

"the greatest superstar trip of any performer,

"and he survived it in his own kind of way.

"Elvis participates in a pure one-to-one relationship with his audience.

"When he steps on the stage,

"it is he and he alone who is the subject

of the manic, ecstatic, irrational adoration."

Elvis: ♪ I've never been to Heaven ♪

Landau: "His brilliance is reflected in his control."

♪ But I've been to Oklahoma ♪

Landau: "He never moves too far in any one direction,

and never loses his grip."

♪ They tell me I was born there ♪

♪ ♪

♪ But I really don't remember ♪

♪ In Oklahoma ♪

♪ Or Arizona ♪

Landau: "To me, no matter how frustrating

"the lapses in his career have been,

he remains an artist..."

Elvis: ♪ In Oklahoma ♪

♪ Or Arizona ♪

Landau: "...an American artist, whom we should be proud to claim as our own."

Elvis: ♪ Yeah, yeah ♪

(song ending)

Thank you. (applause)

Brown: Elvis, in concert, covered all kinda genres, you know.

And he came out and he would do all those songs

from the '50s and '60s that he broke with.

But during the show, there was a lot of country standards.

He just did things that he liked.

Man: You have any thoughts about

the rising interest in country music?

I think it's fantastic.

You see, country music was always a part of the influence

on my-- on my type of music anyway.

It's a combination of, uh...

country music, and gospel,

and rhythm and blues all combined.

Isso é o que realmente era.

Quando criança, fui influenciado por tudo isso.

Mas eu gosto do blues, e gosto da música gospel,

quartetos evangélicos e tudo isso.

Obrigado. Bom ensaio, até breve.

Springsteen: Se você olhar para a banda que ele montou

para os shows dos anos 70, havia um enorme contingente evangélico.

Essas seções do show eram tão poderosas.

Em linha reta fora da tradição gospel branco e preto.

Elvis: ♪ Aleluia ♪

Springsteen: Nos anos 70, Elvis passou para a "American Trilogy".

Seu show foi constituído por uma imagem enorme cross-cultural

da América e Americana.

(Vocalização Elvis)

Springsteen: Ele estava tentando abranger

uma imagem do país como um todo

que ele poderia ser um navio que poderia conter

a totalidade da experiência americana.

♪ Oh silêncio, bebezinho ♪

♪ Não chore ♪

Petty: Você sabe, essa versão de "Dixie"

e uh, o "Hino de Batalha da República"

é tão bonito!

Você sabe, a banda ele colocou juntos é tão over-the-top,

e apenas Elvis teria esse poder gastar um bocado,

e apenas loucura audaciosa.

Coros e orquestras, e uma seção rítmica grande,

talvez um outro grupo gospel ao lado.

Nada disso faz sentido até que de repente

ouvir algo assim,

e todos eles estão desempenhando um papel nisso,

e é música muito comovente.

(flauta tocando)

Quando você o vê fazer aquela música

naqueles pequenos pedaços de filme que eu vi dele,

essa é a pura alegria da música no homem.

Sabe, é quando vejo tudo parar.

(música crescendo)

♪ ♪

♪ Glória, glória ♪

♪ Aleluia ♪

♪ Sua verdade é ♪

♪ Marching ♪

♪ On ♪

♪ His truth is ♪

♪ Marching ♪

♪ On ♪

(wild cheering) Elvis: Whoo!

Thank you, thank you.

Whew! Boy.

How was the sound in that building?

Very good, very good. Here. Hold on.

Strickland: That was his life. He lived to sing and perform.

It's a hot time in Florida.

Man: Boy, it is.

Springsteen: An artist like Elvis is,

rather than pretending when he goes on the stage,

he's actually pretending, when he's home, to be normal.

And when he goes out on stage at night,

it's who he actually is.

It's a very difficult dichotomy.

Priscilla: To see him become even bigger than life,

he had so much so soon.

Harris: He was snatched from the ordinary life

of a-- of a young man

into a place that no one else had ever been

in society or in our culture.

Zanes: To have that success, and to experience it,

he had to hand over significant portions of youth.

That was the trade.

He is unmoored from the Earth experience.

Priscilla: We were living two different lives.

He was performing, and, uh,

and he was home very, very little.

It was very difficult to communicate at that time.

Uh, Elvis had a horrible fear of not sleeping.

He would spend many, many nights alone,

and he would think and that would keep him up.

So he started on sleeping pills,

and he thought that he had it under control.

Everything that he ever had was prescribed.

(indistinct chatter)

Man: Are you satisfied with the image you've established?

Uh... well, the image is one thing,

and a human being is another, you know, so.

Man: How close does the image come to the man?

It's very hard to live up to an image, I'll put it that way.

Parker: Come on, bring your cameras over here.

Come on through here.

Elvis: Soon as the Colonel gets through talking, I'll tell you--

I'm-- I'm sorry.

Oh, yeah, I'd like to do something.

Uh, there's so many places that I haven't been yet.

I'd like to go to Europe.

I'd like to go to Japan and all those places.

I-I've never been out of this country

except in the service, you know.

Light: Elvis, from early on,

had expressed interest in touring overseas

having no idea

that Colonel Parker was never going to let him.

Because if the Colonel went with him,

he was afraid he was not gonna be let back into America.

Schilling: Colonel knowing that Elvis wanted to tour overseas,

colonel not wanting anybody to know

that he wasn't a US citizen,

how could he answer Elvis

but come up with something that nobody had ever done.

Jackson: Instead of shutting down the idea

of Elvis playing in different countries

and just sort of curtailing it for now,

he actually uses it to his advantage,

and creates the first-ever live concert simulcast

on satellite television,

so that people in every country all over the world

can see Elvis play a concert.

Light: By the time of the Aloha special,

Elvis had been touring non-stop.

His health wasn't great, his weight wasn't great,

and now he was confronted with this performance

that was gonna be seen by a billion people around the world.

Whew!

It's so very hard to comprehend it,

because I...

In 15 years, it's hard to comprehend that happening.

To all the countries all over the world via satellite,

it's very difficult to comprehend.

Jackson: It becomes the biggest media moment

of his career up to that point.

And he knows this. He's trimmed down for it.

He looks amazing.

The band is super tight.

Light: Aloha does represent Elvis music,

the moment that Elvis brought together all of his influences

to solidify an image of Elvis,

a look and a style and a presentation

that seals in amber, this is what Elvis is.

Zanes: Elvis was the first major

televisual musical star.

We can see him, but we can't touch him.

Elvis, without intending to,

created an image of himself

he would never live past.

♪ Yeah, now this time ♪

♪ Lord, you gave me ♪

♪ A mountain ♪

♪ A mountain ♪

♪ I may never climb ♪

♪ It isn't ♪

Landau: That show was another way

in which he was truly disserved by the Colonel.

It's a bit of a metaphor for keeping the blinders on,

which is what I think the Colonel is all about.

Petty: My picture of the Colonel really is

someone that loves selling merchandise,

you know, that wants it to the end,

walk the aisle selling posters and ballpoint pens.

It doesn't make any sense really

to keep him from touring other countries,

to keep him from really going to, you know,

the whole way with the music,

like, letting him be an artist.

(crowd cheering)

Elvis: Thank you!

Schilling: I think the troubles between Elvis and the Colonel

started getting worse at that point.

There was the bond,

but they were two very different people.

Priscilla: Elvis outgrew Colonel Parker as an artist,

but he, um, didn't know how to cut the strings.

Light: By this time, he had started to turn to prescription drugs

to keep himself going.

He was on a relentless wheel

of performance to travel to performance to travel,

and you start to see the stress of that.

Binder: All the things he told me that he wanted to do--

travel the world, meet new audiences--

none of that happened.

All the light went out of his eyes.

Zanes: With an addiction to prescription pills,

if you are a performer,

what you're after is the anesthetizing part of it.

But that's gonna take you away

from your powers as a performer,

and he's gonna go on stage nonetheless.

Landau: He had many afflictions,

and he hurt himself in many ways.

But there was a core in there,

that, if you let it, would shine through,

and sometimes in the most unlikely places.

♪ ♪

♪ Lord Almighty ♪

♪ I feel my temperature rising ♪

♪ Hmm ♪

Tutt: We has basically tried to influence him

to do more rock and roll.

"Burning Love," that one had some potential.

He never felt comfortable with it,

because he had a hard time with the lyrics.

Priscilla: He was going through a lot at that time,

so he didn't want to do the song,

and the guys kept expressing that he should do it,

and he was really fighting it.

Landau: "Burning Love,"

well, it's one of the greatest records he ever made.

♪ Like the sweet song of the choir ♪

♪ And you light my morning sky ♪

♪ With burning love ♪

♪ With burning love ♪

Chorus: ♪ Hunk of burning love ♪

Elvis: ♪ Just a hunk of hunk of burning love ♪

Chorus: Ahhh! ♪ A hunk of hunk of burning love ♪

Chorus: Ahhh! ♪ A hunk of hunk of-- ♪

(music stops)

Priscilla: It was a hard song for him to sing

and to get into.

About them lyrics... (laughter)

It was only one, and I hit my mouth.

Priscilla: He wanted to let out his feelings

in a-- in a song that related to how he felt.

It was difficult to be given music

for something that's really uplifting, upbeat,

and that's not matching his tone,

that's not matching his feelings.

♪ ♪

♪ I see a change ♪

♪ Is coming to our lives ♪

♪ It's not the same as it used to be ♪

♪ And it's not too late ♪

♪ To realize our mistake ♪

♪ We're just not right ♪

♪ For each other ♪

♪ Love has slipped away ♪

♪ Left us only friends ♪

♪ We almost seem like strangers ♪

♪ All that's left between us ♪

♪ Are the memories we share ♪

♪ Of times we thought we cared ♪

♪ For each other ♪

Priscilla: Elvis was very family oriented.

He did cherish family,

but Elvis wanted it all. (laughs)

♪ Pieces left behind us ♪

Priscilla: It takes two in a relationship.

Having a child, not being able to do the traveling.

I was a mother.

He always used to say, "You can't serve two masters."

♪ ♪

(chorus vocalizing)

♪ Someday when she's older ♪

♪ Maybe she will understand ♪

♪ Why her mom and dad are not together ♪

♪ The tears that she will cry ♪

♪ When I have to say goodbye ♪

♪ They tear at my heart ♪

♪ Forever ♪

♪ There's nothing left to do ♪

♪ But go our separate ways ♪

Schilling: After he recorded "Separate Ways,"

he wanted to go into the control room

and listen to that song for hours.

And he would just look up and shake his head,

'cause I know he still always loved Priscilla.

Priscilla: Elvis and I,

você sabe, nos demos as mãos no tribunal.

Ainda havia muito amor por lá.

Ele era um pai amoroso.

Mantivemos esse relacionamento muito próximo.

Eu sei que ele sempre esteve lá por mim

e para Lisa também,

mas o rompimento do casamento

Foi doloroso para nós dois.

(vocalizando)

Gordon Stoker: Ele nunca mais foi o mesmo depois disso.

Ele acabou de mudar. Ele estava muito mal-humorado.

Ele não estava bem fazendo dois shows por noite.

E ele teve que levar as cabeças para ele ir

e downers para colocá-lo para dormir.

Parker: Bem, eu não sei, mas sei de uma coisa.

Quando eu disse um Elvis a desacelerar,

"Eu quero jogar mais datas."

Para reservar mais datas.

"Eu não acho que você deveria

e ele: "Bem, é o que eu quero fazer."

Ele foi muito infeliz, depois começou tudo de novo.

Locutor: Com cerca de 25 retratos coloridos disponíveis ...

Homem: Souvenirs!

Ei! Levar para casa um pouco de Elvis!

Elvis super lembranças!

Cohn: Eu acho que a noite quente, tornou-se mais difícil para ele

para continuar sendo Elvis.

Drogas e auto-destruição

eram todas as punições.

Ele was com muita dor, e ainda assim, ele deu tanto prazer.

Ele iria para o palco e entrar em colapso,

o direito iria sair balizadas e alegre,

espiritualmente abençoada.

Priscilla: Elvis estava sempre à procura de respostas.

Por que ele?

"Bem, talvez Deus tenha planejado outra coisa para mim.

Eu deveria estar dando uma mensagem? "

Não percebendo que ele estava fazendo

o que ele deveria estar fazendo.

Petty: Os últimos dias de sua vida não foram seu melhor trabalho.

Ele teve muitos problemas.

Ele ganhou peso

que é um pecado capital no show business.

Isolation, you know,

that-- that brings on the drug abuse.

He's lost touch with his father.

His mom's gone.

His wife is gone.

It had to be very lonely, we know that.

There's a point when-- when you have success,

and you get really wealthy

and there is that day where the letter comes

that none of this is gonna make me happy.

And he knew he had to try to find some-- something, you know,

but I think he gave up.

I think he felt out-gunned and gave up.

Priscilla: Those last shows,

aqueles mostra os últimos dois anos

não eram o mais memorável, tanto quanto o desempenho.

Às vezes ele não passar por um-- uma canção.

Eu acho que o ano passado, ele foi muito bem sobre ele.

Eu nem sei por que, você sabe, ele subiu ao palco.

Eles são apenas difícil de assistir.

Às vezes, eu acho que foi melhor, talvez,

se eles apenas cancelaram o show.

Brown: Recebemos a ligação que Elvis queria gravar em Memphis.

Strickland: Sempre que recebemos a ligação,

nós estaríamos lá à sua disposição e ligamos

sempre que eles estivessem prontos.

Brown: Na minha cabeça, nós vamos, tipo,

Sun Records ou algum outro lugar ali, o estúdio de Chips Moman.

Mas nós entramos em Graceland,

e eu digo: "Bem, o que estamos fazendo aqui?"

Eles disseram: "Estamos cortando aqui".

Strickland: Ele não iria ao estúdio.

O estúdio teve que vir a ele, bem no quarto da selva lá.

Man: É difícil levá-lo a entrar em um ambiente de estúdio,

porque ele estava desconfortável lá.

Man 2: Não quero ir para Nashville,

não quero ir para a Stax,

não queria ir para Chips Moman do.

Ele queria ficar em casa.

Strickland: Nós viríamos de Nashville,

Check-in em um hotel que foi logo à direita da rua.

Homem: E então, todos nós estaríamos prontos para ir,

e eles diziam: "Elvis ainda não está acordado".

Strickland: Ele poderia descer à meia-noite

ou pode ser duas horas da manhã.

Você nunca soube o que a noite iria aguentar.

Springsteen: Elvis acabou de volta no Jungle Room,

gravando seu último disco.

Graceland pode ser algo que é--

que te dá uma sensação de ... lugar,

e de-- do centro.

Uh, mas também pode ser um lugar where--

que você acabou de desaparecer.

Pareceu-me que Elvis foi apanhado no meio

fazendo um pouco de ambos lá.

Petty: Parece ser, ele está escolhendo canções

que pouco refletem seu estado de espírito.

Como "Hurt", que é um dos as-- os muito últimos.

Eu acho que ele está se sentindo muito magoado.

Ele está muito mal. Ele está muito sozinho.

Ele não entende o que aconteceu com a música

e ele ficou de fora disso.

Ele se tornou uma coisa.

Ele não era mais Elvis Presley.

Ele era "Elvis".

Norbert Putnam: Bem, quando cheguei ao Jungle Room,

eles removeram todos os móveis.

Eles cobriram as paredes em cobertores.

Strickland: Houve um semi,

como um trator muito grande, atrás da casa.

Foi constituída de uma ficha completa da RCA.

Eles iriam executar todas as suas linhas de recording

no quarto da selva.

Brown: Parece que você não está Tahiti ou algo assim.

Parecia que você estava nas ilhas.

Mas todos nós estamos apenas nos apartamentos em espaço minúsculo pouco.

Tutt: Foi um pesadelo para os engenheiros de gravação

para o meu amor, sem muito sangramento

com microfones abertos,

The analytics are not podíamos.

Strickland: Não foi como nós fizemos um monte de ensaio

para as gravações.

Foi "Ligar a máquina, e ele vai cantar."

Nós todos nos assistimos a um tempo real.

E você sabe, II lembro de uma das primeiras músicas

que eu gravei com ele, uh, foi "Hurt".

Nós não temos uma ideia menor de como ele descer

Como ele poderia conseguir-lo.

De repente, ele toma a sua posição.

♪ ♪

Elvis: ♪

♪ ♪ Então Ferido

♪ E pensar que você mentiu para mim ♪

♪ Estou magoado ♪

♪ lá no fundo dentro de mim ♪

♪ Você disse ♪

♪ O nosso amor é verdadeiro

♪ E nós nunca ♪

♪ Nunca parte ♪

♪ Você quer alguém novo ♪

E isso parte meu coração

♪ Oh, eu estou ferido ♪

♪ ♪ Muito mais

♪ que que quantas vezes jamais ♪

♪ Sim, querido ♪

♪ Eu estou tão magoado ♪

Porque ♪ ♪

♪ eu ainda te amo tanto ♪

♪ Mas você sabe ♪

♪ Mesmo que você me machucar ♪

♪ Como ninguém mais ♪

♪ jamais poderá fazer ♪

♪ Eu nunca ♪

♪ ♪ ferir

♪ ♪

♪ Sim, você ♪

(Música termina)

♪ ♪

♪ ♪

Bearde: Elvis queria terminar o '68 Especial sobre uma grande nota.

Francamente, não sabia como terminar o show.

Ligante: Todos os dias às quatro horas,

nós todos sentamos na sala de piano, de nossos escritórios,

ensaiando com Elvis.

Bearde: Você recebeu sentados no escritório de Steve com Elvis,

uma televisão no preto e branco no canto.

(Tagarelar indistinto) Por que a TV ...

Robert Kennedy foi assassinado.

(Gritos indistinto)

Elvis pegou uma guitarra,

e ele começou a tocar.

Falando em uma milha um minuto.

Você quer que você seja

"Porque este é um momento sem tempo

onde todos os nós têm que entender uns aos outros. "

♪ ♪

♪ Deve ter luzes acesas brilhantes ♪

♪ ♪ Em algum lugar

♪ Tem que voar mais alto ♪

♪ Em um céu mais azul ♪

♪ Se eu posso sonhar com uma terra melhor ♪

♪ Onde todos os meus braços e andar de mãos dadas ♪

♪ Diga-me por ♪

♪ Oh, por ♪

♪ Oh, por que não pode meu sonho ♪

♪ Oh, por ♪

♪ Deve haver paz e compreensão ♪

♪ ♪ em algum momento

♪ ventos fortes de promessa ♪

♪ Isso vai soprar toda a dúvida ♪

♪ ♪ E o medo

♪ Se eu posso sonhar com um sol mais quente ♪

♪ Onde uma esperança continua a brilhar em todos ♪

♪ Diga-me por ♪

♪ Oh, por ♪

♪ Oh, por que não aquele sol ♪

♪ ♪ Aparecem

♪ Estamos perdidos em uma nuvem ♪

♪ Com muita chuva ♪

♪ Estamos presos em um mundo ♪

♪ Isso está incomodado com a dor ♪

♪ Mas enquanto um homem tem uma força para sonhar ♪

♪ Ele pode resgatar sua alma ♪

♪ ♪ E voar

Coro: ♪ Ele pode voar ♪

♪ No fundo do meu coração ♪

♪ Há uma pergunta tremor ♪

♪ Ainda tenho a certeza que uma resposta ♪

♪ vai de resposta venha de alguma forma ♪

♪ Lá fora no escuro ♪

♪ Há uma vela acenando ♪

♪ Ah sim, e enquanto eu posso pensar ♪

♪ Você eu posso falar ♪

♪ Você eu suporto ♪

♪ Enquanto eu posso andar ♪

♪ Assim eu posso sonhar ♪

♪ por favor, deixe minha ♪ sonho

♪ ♪ Realidade

♪ ♪ Oh

♪ Agora ♪

♪ Oh, deixe-me tornar realidade agora ♪

♪ sim ♪

(Música termina)

(Zumbido carretel de filme)

♪ ♪

Mesquinho: ♪ você não pode ver ♪

♪ ♪ Eu te amo

♪ Por favor, não quebre meu coração em dois ♪

Isso não é difícil de fazer

Porque eu não sou um coração de madeira

♪ E se você dizer adeus ♪

♪ Então eu sei que eu iria chorar ♪

♪ provavelmente eu vou morrer ♪

Porque eu não sou um coração de madeira

♪ Não há cordas ♪

♪ Quando isso é meu amor ♪

♪ Era sempre você desde o início ♪

♪ Trate-me agradável ♪

♪ Trate-me boa ♪

♪ Trate-me como você realmente realmente ♪

Porque eu sou feito de madeira

♪ E eu não tenho um coração de madeira ♪

♪ Não, eu não tenho um coração de madeira ♪

(Música termina)