Viva Pod Vegas: The Elvis Presley Film Podcast Joey Lewandowski and Mike Manzi

We’re taking another brief detour on Viva Pod Vegas to cover Sofia Coppola’s Priscilla, now playing in theaters! We talk about Priscilla as a complement to Baz Luhrmann’s Elvis, its focus on Elvis’s film career (rather than his music career), and how it compared to what we expected the movie to be. We explore the “controversies” behind the scenes, talk about our favorite music moments, and imagine how close this final product was to Sofia Coppola’s original vision. We also talk about Cailee Spaeny as Priscilla — and the movie’s incredible ability to capture her growth in this movie — and Jacob Elordi as Elvis — and how his portrayal compares to last year’s performance by Austin Butler. We also come to the realization that after last year’s film centering on Col. Tom Parker’s point of view, and this film centering on Priscilla’s point of view… we haven’t gotten an Elvis biopic from his own perspective.

Viva Pod Vegas returns with Harum Scarum, which seems (unfortunately) to be Elvis's cinematic career low. But if this is the low point... things really aren't so bad overall? It's one of the shortest movies we've had so far -- and still filled with padding -- and its backstory is filled with tonal confusion and creative burnout. We discuss all that as well as its incredible opening scene, its seeming refusal to explain its plot, and its cultural insensitivities. We wonder if they could have leaned into a full parody of Elvis movies, discuss how much James Bond influence can be found in Harum Scarum, and why Elvis keeps falling asleep to be awoken by a kiss. We talk about Elvis's sultry song to an 8-year-old girl and his singing via reflecting pool. Joey's hair blindness rears its ugly head. We look ahead to Frankie and Johnny (and other upcoming episodes).

The time has come, at last, for Viva Pod Vegas to get to (perhaps) Elvis Presley's weirdest movie title yet: Tickle Me. We talk about the misleading title (and the original [bad] title, too), read some emails, and make some Scooby Doo connections. We describe Tickle Me's almost inexplicable plot, explore its six (!) taglines and largely unknown cast, and wonder why *this* was the movie that Elvis won an award for. We talk about Elvis continually disrupting everything by singing songs, his duet with a horse, and his many (many) fights. We break down Elvis as a rodeo rider, a Deadwood-era performer, and a mind reader (?). Joey shares his issues with the way this movie plays out, while Mike has ideas on how to easily make it better. We explore the concept of "movie says so," discuss restarting Viva Pod Vegas after we wrap up its initial run, and predict Harum Scarum -- which we had way, way wrong.

We're taking a quick pit stop from our regularly scheduled Elvis programming to cover his granddaughter Riley Keough's directorial debut: War Pony! After catching up on Riley Keough News (and one email from a concerned listener seeking our Tickle Me episode), we dive into War Pony to talk about the story behind the movie, the many types of stories that are ready to be told (and are finally getting a chance to be told), and Keough's confidence as a first-time director (alongside her directorial partner and best friend Gina Gammell). We talk about the similarities we find to American Honey, the nearly overwhelming sense of looming dread throughout the film, and how the film seems to have some Zola vibes. We discuss our favorite scenes and moments, the cozy sense of community on display, and how naturally the film uses music. 

Viva Pod Vegas is back, and we've made it to 1965 to talk about Elvis Presley and Shelley Fabares in Girl Happy! Before we dive into the movie, we talk about the teaser trailer for Sofia Coppola's Priscilla, we share some exciting news about Elvis movies on the Criterion Channel, and we read a few more very kind notes from listeners.
Then, we pack up and head for Fort Lauderdale to talk about Shelley Fabares filling the Ann-Margret void, the world's oldest college kids, and why the "Do the Clam" dance never caught on. We talk about Girl Happy as a response to Beatlemania, its comparison between the women of Florida and the women of Chicago, and Elvis pulling a Magic Mike and setting off an entire chain of events he has to reckon with.
We talk about the greatest Elvis song name in history ("Fort Lauderdale Chamber of Commerce"), Girl Happy becoming a "women in prison" movie, and how to simplify the movie and solve its story issues. We admire Elvis's incredible guessing game, laugh about him pulling a Superman IV, and find ourselves thinking about the Kittyhawks again.
We re-adjust how we do the "best song in an Elvis movie" game. We get very, very excited for Tickle Me after we read its plot description.

We're closing out Elvis Presley's three-picture 1964 year in film strong (?) with a real "snow job" in Roustabout! After defining what a roustabout is, we talk about Elvis being differently creepy (and more of a bastard) than we expected, the fact that a movie finally caves and says "sure, fine, he's a singer, whatever," and how this movie seems to have come directly from within the Colonel's brain (and was produced by Big Carnival?). We discuss some wild Elvis karate lore that we're not fact-checking, the quality/caliber of songs in this movie seeming higher than normal, and yet another instance of needless conflict. Joey laments that Roustabout fails his test and makes a plea to 60-year-old movies. Mike is amazed his hope came true before comparing Elvis to Vanilla Ice and Pee-wee Herman. We compare Roustabout to 30 Rock and Fast & Furious, guess what Girl Happy is about, and explore the history of baseball as a euphemism for sex.