SAO PAULO (Reuters) - Kevin Spacey sitting in the Oval Office chair may not be new, because many are already accustomed to seeing him like the skin of Frank Underwood manipulator in "House of Cards".
Changing the number of Netflix by the new Liza Johnson film, "Elvis & Nixon," the actor continues in the same scenario, but playing a completely different kind: one of the US presidents over portrayed in the movies, the iconic - for his ridiculous way by corruption scandals - Richard Nixon.
The curious thing is that after so many representations, only now launches light on one of the most unusual episodes of his government, which was his meeting with the King of Rock, Elvis Presley recorded only by a photo.
Just the most requested image in the US National Archives inspires surreal and hilarious "Elvis & Nixon", long dedicated to imagine the preparation, negotiation and the content so intriguing conversation that took place at the 1970 Christmas eve.
The period marked by the counterculture and hippies, youth protests against the Vietnam War and the struggle for equality of women, as well as popularization of drugs, showed the TV one US collapsed to Elvis Presley, who decided I should do something for her parents.
If the colorful opening credits, together with an attentive art direction placed next to the swing of seventies music on track help acclimatise the time, the extravagant costumes punctuated the most exaggerated stage persona of King, lived here for Michael Shannon, when plenty of rings on his fingers equaled his obsessions like to become an undercover federal agent to combat domestic drug trafficking.
In order to earn the special badge, he goes to Washington with the intention of offering support to the president in the fight against communism, the great fear of both.
For the task, Presley has a childhood friend of the help and former assistant Jerry Schilling (Alex Pettyfer), one of several "right arms" in the plot, like the characters of Colin Hanks, Evan Peters and Johnny Knoxville also gain Featured resigned their actions to please the desires and egos of their bosses.
Curiosity about the event had reached the television only - with pseudo-documentary "Elvis Meets Nixon" (1997) and an episode of "Drunk History" with Jack Black as the singer - but was to theaters only now with a strange trio of writers formed by actor Joey Sagal, his ex-wife Hanala Sagal and Cary Elwes, the heartthrob of "the Princess Bride" (1987).
Using the imagination to compose the gaps left by the accounts of the witnesses, the script is not based on a simple-minded plot, but the strength of his dialogues, full of ironies, for those who know the least of the story of Elvis and his addiction to drugs, and Nixon, the only US president who resigned after the Watergate scandal - so the reference to "All the President's Men" (1976) in the garage scene.
The meeting of the two happens only in the third act, but the way there is engaging and fast enough to hook the public - the production is 86 minutes. However, the long-awaited moment includes performances and phrases as priceless as Elvis's claim that the White House seemed his Graceland mansion, the viewer may wonder then why the duo not be in the focus of the film before.
Nixon appears much less on the scene, but Spacey arrives impressing for humanity given to the figure, in addition to the mannerisms and voice mimics. narrative of the driver, Shannon overcome the initial mistrust of the visible lack of physical resemblance to the singer betting on the subtext of strength in its interpretation.
This is an old bet Liza Johnson had applied to "Inverse Amores" (2013), and that the filmmaker repeats here, even more flamboyant characters. His discreet direction, which sticks to the actors, still reveals significant scenes, such as when shooting through a glass Elvis's confession to his friend about the fact that people look only image they have of him and he himself does not see more to you same.
Are reality breathers in a great story that seems too surreal to be true.
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