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Homem: Tudo bem, é uma grande tiro, para ser capaz de estar aqui.
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Em espera.
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9:12
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♪ ♪
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Jerry Schilling: A '68 Especial realmente mostrou
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A carreira de Elvis em sua totalidade.
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Eles levaram a carta original de Elvis
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e fizeram-eles mais moderno.
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Priscilla Presley: Este foi trazê-lo de volta para o início
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mas ainda vai no futuro.
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♪ Bem, isso é o meu emprego para baixo não ♪ lavagem de carro
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♪ eu deixei minha mãe adeus uma nota ♪
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Uma jam session com os músicos originais.
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Tinha simplicidade, espontaneidade.
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E ele também tinha como peças coreografadas
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que realmente foi um reflexo dos filmes
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e os anos pós-Exército.
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♪ Mas ninguém queria contratar um homem guitarra ♪
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♪ ♪
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Steve Binder: A verdadeira espinha dorsal do especial
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veio de nossos escritores.
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Eles trancaram-se em seu escritório
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e jogou todos os recordes de Elvis que você poderia encontrar.
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Chris Bearde: Nós teceu uma história de Elvis
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do seu início para ser um superstar.
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Ele deu a todos uma olhada Elvis como músico.
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♪ Eu estou esperando que eu posso tornar-me um dólar ♪
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♪ música Makin' no meu violão ♪
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Priscilla: É engraçado. É contar a história de Elvis, sim,
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em um show de variedades.
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Tem as meninas. Tem ele tocando guitarra.
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Eu olho para trás agora ...
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sua vida era tão grande,
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Eu não sei se você pode obtê-lo em uma hora. (ri)
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♪ ♪
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Elvis: ♪ Sim, eu estou indo andar ♪
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♪ Em dessa maneira branco leitoso ♪
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♪ Oh Lord, some of these days ♪
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Elvis: I started out when I was just out of high school,
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I started out driving a truck,
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and, uh, I was training to be an electrician.
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♪ Some of these days ♪
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♪ Well, well, well, well ♪
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One day at my lunch break,
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I went into this little record company to make a record.
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The guy put the record out, and overnight, in my hometown,
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people were saying, you know, "Who is he?"
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♪ I'm gonna walk on that milky white way ♪
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♪ Oh Lord, some of these days ♪
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I started to play little nightclubs and little football fields.
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Like a year and a half, I was doing this, I met Colonel Parker.
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♪ My mother howdy, howdy, howdy... ♪
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In 1956, they arranged to, uh, to put me on television.
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So they dressed me in a tuxedo,
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had me singing to a dog on a stool.
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♪ My mother howdy when I get home ♪
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I went to Hollywood and I did four pictures.
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I was really getting used to the movie star bit.
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♪ I'm gonna shake my mama's hand ♪
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Just overnight it was all-- all changed.
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♪ I will shake her hands that day ♪
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I got drafted.
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♪ That's when we walk ♪
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♪ On that milky white way ♪
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♪ Oh Lord, one of these days ♪
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Choir: ♪ On some of these days ♪
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Warren Zanes: Returning from the Army,
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coming back home, getting ready to perform again,
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it's obviously not the '60s.
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Those '60s haven't come yet.
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This is pre-civil rights.
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Things are happening in that regard,
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but it's not really coming to a head yet.
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I'm sure he was aware of how much had gone on.
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He could've gone in several directions.
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Man: Well, Elvis, now you're really home.
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How does it feel?
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It's pretty hard to describe, I'll tell ya.
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It's hard to get used to it, you know?
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I mean, I've been looking forward to it for two years,
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and, all of a sudden, here it is.
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It's, uh...
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It's not easy to adjust to it.
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Man: Elvis, do you think the music has changed
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since you've been out of the service?
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I mean, since you've been in the service.
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Possibly, yes. I-I... I can't say really.
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I haven't been here long enough to even know.
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♪ ♪
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Elvis: The only thing I can say is if it has changed,
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well, I would be foolish not to...
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try to change with it, you know?
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♪ ♪
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John Jackson: When Elvis gets back from the Army,
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he was still one of the biggest stars on the planet.
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But rock and roll, that force that happened
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between '54 and '59,
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basically had evaporated while he was away.
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And you see, immediately, the results of the Colonel plotting--
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"How do I make him as widespread as possible and polish his image?"
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Get him on the path towards being a Frank Sinatra
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or a Dean Martin,
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pop singers who have very long careers.
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Alan Light: This was a curious crossroads in his career.
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It was open field to see
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what was he gonna do and where was he gonna go.
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The work that he had done during his time in the Army
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broadens the scope of the music
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that he was interested in.
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Priscilla: He didn't wanna do the same music.
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He wanted to grow.
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He wanted to evolve in a way
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that he could offer something different in his music.
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Ernst Jorgensen: With Elvis, it was always about the challenge, the motivation.
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He's already in the recording studio in Nashville
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two weeks after coming home.
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He knew what was at stake,
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so did the Colonel and the engineers, everybody.
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There was this tension in the room: "What's it gonna be like?"
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Man: You ready? (guitar plays)
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Let's cut one.
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LTWB0081, take one.
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(train whistling) ♪ ♪
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Elvis: ♪ I just got your letter, baby ♪
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♪ Too bad you can't come home ♪
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Jorgensen: They all relaxed after just a few takes
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because he's so on top of it.
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He's been longing for this moment--
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both to get his career started
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but also to express a new range of music,
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his new understanding of music.
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Everything he could do.
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Elvis: ♪ I ain't slept a wink since Sunday ♪
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♪ I can't eat a thing all day ♪
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Light: Since the last Ed Sullivan Show appearance in 1957,
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the Colonel decided to take Elvis off of television.
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He didn't want to give Elvis away
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when you could sell tickets in a movie theater.
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Jorgensen: But in the relaunch,
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he wasn't gonna gamble.
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He wanted exposure to make sure they got a head start.
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Now it was time to deliver.
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Jackson: The Colonel's plan was get Elvis on television
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in front of as many people as possible
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with the world's other most famous singer.
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Make it fun and exciting,
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so that now the career can continue. (women screaming)
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♪ I know that I ♪
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♪ Held nothing ♪
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♪ Waa-ooh-waa-ooh ♪
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♪ If you should go away ♪
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♪ But to know ♪
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♪ That you love me brings ♪
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Bruce Springsteen: The Sinatra show,
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it was a very conservative move at the time.
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It was just trying to find his place
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after coming out of the Army.
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He simply had to believe in himself,
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and that's what Elvis did.
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♪ ♪
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♪ Fame and fortune ♪
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♪ My way ♪
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♪ Ooh, ooh, ooh, ooh ♪
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(women screaming)
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Springsteen: Elvis put himself forth as somebody who was not a flash in the pan
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mas que estava em uma longa linha de uma tradição de cantoras pop americanas.
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Eles estavam dizendo que há uma vida para Elvis depois de Elvis.
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Elvis ... (gritos continua)
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Eu te digo uma coisa, foi ótimo!
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Jon Landau: Eu me lembro quando ele apareceu no especial Frank Sinatra.
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Esse show foi muito o oposto
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de The Steve Allen Show.
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Havia uma atmosfera colegial.
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Frank Sinatra e Elvis tinha dois estilos diferentes
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mas estavam em um clube incrivelmente exclusivo.
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♪ ♪
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Nós trabalhamos da mesma maneira única em diferentes áreas.
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(riso)
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♪ Ame-me macio ♪
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♪ Me ame doce ♪
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♪ Never Let Me Go ♪
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Jackson: Negociação seus próprios sucessos uns com os outros
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é o grande momento que o coronel de engenharia para ele.
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♪ Aqueles dedos no meu cabelo ♪ (mulheres gritando)
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Jackson: Você pode ouvir as mulheres na platéia começar a gritar.
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Elvis sexos-lo um pouco.
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♪ que retira a minha consciência nua ♪
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♪ É bruxaria ♪
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♪ ♪ Love me tender (mulheres gritando)
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♪ Me ame verdadeiro ♪
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Jackson: Sinatra, ele é apropriado "Love Me Tender"
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nessa coisa swing. Ele nasceu na batida.
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♪ Oh meu querido, eu te amo ♪
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♪ E eu sempre ♪
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♪ É um passo tão antiga ♪
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(Mulheres gritando)
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♪ Uma que eu não mudaria ♪
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♪ Porque não há nenhuma bruxa mais agradável ♪
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♪ do que a bruxaria ♪
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♪ ♪ Eu te amo
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♪ E eu sempre ♪
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♪ ♪
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(Harmonização) ♪ Para meu querido ♪
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♪ ♪ Eu te amo
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Cara, isso é bonito. (riso)
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Ambos: ♪ E eu sempre ♪
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Jackson: Ele está abraçado pela comunidade
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que já tinha colocá-lo para baixo,
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e que sinalizou que estava pronto
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para assumir esse papel de ícone cultural.
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Jorgensen: Você começa esta nova Elvis,
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o Elvis que o Coronel Parker queria,
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o Elvis que tinha crescido exatamente da mesma maneira
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que seu público principal havia ficado mais velho.
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Eles foram de adolescentes a adultos jovens.
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Então, para ele, foi o lançamento perfeito.
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O público aceitou amplamente que,
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but, obviously, this was a transition.
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♪ ♪
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Elvis: ♪ You gave me love to enjoy ♪
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♪ Like a bright shiny toy to a baby ♪
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♪ ♪
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♪ No matter what you would do ♪
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♪ I depended on you ♪
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♪ Like a baby ♪
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♪ ♪
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Priscilla: He knew that next album was important.
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He gave it a lot of thought.
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Light: The Elvis is Back! album reveals new influences,
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new interests, new arrangements.
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Jackson: He had been getting ready for this mentally
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while he was in Germany.
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There's a little bit of R&B, there's a little bit of pop,
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ballads, country.
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♪ ♪
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Light: New songs that represented a different vocal approach
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than anything he had tried before that.
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Elvis: ♪ I was blind, 'cause I just ♪
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David Briggs: Sua voz era muito em sintonia sempre,
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e isso é porque ele não tem que lutar contra uma banda.
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Esses caras eram macios e eles não são empurrá-lo,
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e eles não estavam muito ocupados.
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Jorgensen: Uma banda teve uma capacidade de baixar toda essa música
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que veio de muitas fontes diferentes.
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Elvis: ♪ Como um bebê ♪
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Jorgensen: Essa foi uma verdadeira magia
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de Elvis combinando com esta banda.
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Eles compreendido perfeitamente o outro.
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(Vocalização Elvis)
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Red West: Os músicos foram incríveis.
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Bobby Moore no baixo,
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Floyd Cramer sem piano.
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Homem, uma pessoa uma vez uma vez
254
00:11:54,000 --> 00:11:56,000
e bam, eles estão prontos para ir.
255
00:11:56,000 --> 00:11:58,080
Briggs: Eles eram um grupo muito real.
256
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Alguém jogou qualquer coisa que não foi
257
00:11:59,790 --> 00:12:01,620
com o que estava ali jogando.
258
00:12:01,620 --> 00:12:03,450
Elvis: ♪ Eu preciso alma ♪
259
00:12:03,450 --> 00:12:05,120
Briggs: DJ e Scotty ainda irmãos lá,
260
00:12:05,120 --> 00:12:07,330
mas eles começaram um papel menor e menor
261
00:12:07,330 --> 00:12:09,200
e que fez um pouco mais sofisticado.
262
00:12:09,200 --> 00:12:11,790
Elvis: ♪ Então eu quebrei e chorei ♪
263
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Priscilla: Ele gostou da forma como uma música soava.
264
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Tecnologia, evoluída enquanto estava estava fora.
265
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Jackson: RCA Studios tem um gravador de três pistas.
266
00:12:19,950 --> 00:12:23,500
Que realmente é um profissionalismo técnico
267
00:12:23,500 --> 00:12:26,410
como uma gravação de tecnologia está se movendo para o futuro.
268
00:12:26,410 --> 00:12:28,950
Elvis: ♪ Como um bebê ♪
269
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Priscila: Ele começou a sentir confiança,
270
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porque estas foram suas escolhas de música.
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Estas foram as músicas que ele estava cantando na Alemanha.
272
00:12:37,120 --> 00:12:39,120
Essa é uma liberdade que ele queria.
273
00:12:39,120 --> 00:12:40,700
Isso é o que estava procurando.
274
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Elvis: ♪ Como um bebê ♪
275
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Priscilla: E is so that so tão bem rival.
276
00:12:45,370 --> 00:12:47,370
Apenas soprou como pessoas afastadas.
277
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Landau: Elvis, quando ele voltou,
278
00:12:51,410 --> 00:12:55,750
claramente em encontrar as canções e fazer os registros,
279
00:12:55,750 --> 00:12:57,540
foi muito accionado.
280
00:12:57,540 --> 00:12:59,500
Sua visão era muito intacto,
281
00:12:59,500 --> 00:13:02,000
e eu não acho que ele poderia ser distraído.
282
00:13:02,000 --> 00:13:05,410
Zanes: Elvis estava tão sintonizado com o emocional.
283
00:13:05,410 --> 00:13:10,580
Ele estava sempre em busca de música emocional.
284
00:13:10,580 --> 00:13:11,870
Priscilla: Eu perguntei a ele um dia
285
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"O que faz você escolher suas músicas?"
286
00:13:14,410 --> 00:13:17,750
He said, "I wanna be able to reach and feel
287
00:13:17,750 --> 00:13:20,250
what we all go through as human beings."
288
00:13:20,250 --> 00:13:22,410
♪ Ooh ♪
289
00:13:22,410 --> 00:13:24,450
Zanes: This is the mysterious part about music.
290
00:13:24,450 --> 00:13:27,200
How do we know when we're listening to a song
291
00:13:27,200 --> 00:13:29,370
that someone means it?
292
00:13:29,370 --> 00:13:30,410
We just know.
293
00:13:30,410 --> 00:13:32,910
Elvis: ♪ Are you lonesome tonight ♪
294
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Zanes: And the people who mean it
295
00:13:34,250 --> 00:13:37,250
are generally the ones who are processing
296
00:13:37,250 --> 00:13:41,450
some kind of loss through music,
297
00:13:41,450 --> 00:13:45,540
and we can hear them negotiating their loss,
298
00:13:45,540 --> 00:13:48,410
and we connect to it.
299
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Elvis: ♪ Does your memory stray ♪
300
00:13:53,450 --> 00:13:58,160
♪ To a bright summer day ♪
301
00:13:58,160 --> 00:14:00,790
♪ When I kissed you ♪
302
00:14:00,790 --> 00:14:04,870
♪ And called you sweetheart? ♪
303
00:14:04,870 --> 00:14:08,830
David Porter: Those who are truly a recording artist,
304
00:14:08,830 --> 00:14:11,450
you go into the artistic aspect
305
00:14:11,450 --> 00:14:13,200
of what makes whatever you're doing
306
00:14:13,200 --> 00:14:15,870
alive and unique for that song.
307
00:14:15,870 --> 00:14:19,120
So he would lose himself in an artistic way
308
00:14:19,120 --> 00:14:21,870
in order for people to feel it.
309
00:14:21,870 --> 00:14:23,700
Elvis: ♪ And picture me ♪
310
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Porter: That's called soul.
311
00:14:26,450 --> 00:14:31,200
Elvis: ♪ Is your heart filled with pain? ♪
312
00:14:31,200 --> 00:14:36,160
♪ Shall I come back again? ♪
313
00:14:36,160 --> 00:14:38,660
♪ Tell me, dear ♪
314
00:14:38,660 --> 00:14:43,830
♪ Are you lonesome tonight? ♪
315
00:14:45,830 --> 00:14:48,120
Man: Usually when we chat, Elvis, we ask you to, uh,
316
00:14:48,120 --> 00:14:50,250
select your favorite song of all your recordings.
317
00:14:50,250 --> 00:14:52,330
What's the current favorite of yours?
318
00:14:52,330 --> 00:14:54,540
Elvis: I think, uh, "Now or Never."
319
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It's "Now or Never."
320
00:14:56,500 --> 00:14:58,910
♪ Ooh ♪
321
00:14:58,910 --> 00:15:02,540
♪ ♪
322
00:15:02,540 --> 00:15:05,950
♪ Ooh, ooh, ooh ♪
323
00:15:05,950 --> 00:15:08,370
♪ ♪
324
00:15:08,370 --> 00:15:11,330
Elvis: ♪ It's now or never ♪
325
00:15:11,330 --> 00:15:14,790
Jorgensen: Everything was a level up on the '50s.
326
00:15:14,790 --> 00:15:17,700
The three singles, "Stuck on You," "It's Now or Never"
327
00:15:17,700 --> 00:15:21,040
and "Are You Lonesome Tonight?" were number one hits.
328
00:15:21,040 --> 00:15:22,910
It was a true triumph
329
00:15:22,910 --> 00:15:26,540
and a whole new ballgame of what pop music was.
330
00:15:26,540 --> 00:15:31,000
Elvis: ♪ Tomorrow will be too late ♪
331
00:15:31,000 --> 00:15:33,700
Landau: Rhythmically, his sense of time,
332
00:15:33,700 --> 00:15:37,540
his phrasing, musicality, Elvis was impeccable.
333
00:15:38,790 --> 00:15:41,370
Elvis: ♪ When I first saw you ♪
334
00:15:41,370 --> 00:15:42,750
Priscilla: He loved opera singers.
335
00:15:42,750 --> 00:15:44,750
He loved the range of an opera singer.
336
00:15:44,750 --> 00:15:47,200
"It's Now or Never" is very much like that.
337
00:15:47,200 --> 00:15:51,250
Elvis: ♪ My heart was captured ♪
338
00:15:51,250 --> 00:15:52,950
Tom Petty: What he did that was unusual
339
00:15:52,950 --> 00:15:56,410
was he could slide up the scale into a tenor voice
340
00:15:56,410 --> 00:15:58,200
and then back down, you know.
341
00:15:58,200 --> 00:16:01,250
And he's just having fun.
342
00:16:02,700 --> 00:16:04,620
He's sliding all over the scale.
343
00:16:04,620 --> 00:16:07,950
It's so human. It's so real.
344
00:16:09,000 --> 00:16:13,120
Elvis: ♪ It's now or never ♪
345
00:16:13,120 --> 00:16:16,160
♪ Come hold me tight ♪
346
00:16:16,160 --> 00:16:19,290
Light: "It's Now or Never" was adapted from "O Sole Mio,"
347
00:16:19,290 --> 00:16:20,700
the Italian song.
348
00:16:20,700 --> 00:16:22,790
Elvis had always had this interest
349
00:16:22,790 --> 00:16:25,120
in the Italian crooners.
350
00:16:25,120 --> 00:16:27,950
When he was in the Army with Charlie Hodge,
351
00:16:27,950 --> 00:16:31,660
they were exploring that kind of drama in his singing.
352
00:16:31,660 --> 00:16:35,950
That sound, that style became one of the staples
353
00:16:35,950 --> 00:16:39,700
of Elvis's musical range from then on.
354
00:16:39,700 --> 00:16:41,910
Elvis: ♪ Just like a willow ♪
355
00:16:41,910 --> 00:16:43,200
Jorgensen: It's about challenge.
356
00:16:43,200 --> 00:16:47,120
It was the challenge that made him do that extra thing.
357
00:16:47,120 --> 00:16:49,450
And hitting the high notes at the end
358
00:16:49,450 --> 00:16:51,870
on "It's Now or Never" was the challenge.
359
00:16:51,870 --> 00:16:53,700
Elvis: ♪ And sweet devotion ♪
360
00:16:53,700 --> 00:16:56,250
Jorgensen: He can't really reach it, and the engineer says,
361
00:16:56,250 --> 00:16:58,790
"We can cut the ending only," and Elvis goes back and says,
362
00:16:58,790 --> 00:17:02,620
"No, if I can't sing it the whole way through, I'm not gonna do it."
363
00:17:02,620 --> 00:17:04,410
Elvis: ♪ For who knows when ♪
364
00:17:04,410 --> 00:17:05,870
Priscilla: He challenged himself.
365
00:17:05,870 --> 00:17:09,950
He got a thrill out of hitting a note so high.
366
00:17:09,950 --> 00:17:15,080
Elvis: ♪ It's now or never ♪
367
00:17:15,080 --> 00:17:20,160
♪ My love won't wait ♪
368
00:17:20,160 --> 00:17:21,750
♪ ♪
369
00:17:21,750 --> 00:17:25,290
♪ É agora ou nunca ♪
370
00:17:25,290 --> 00:17:29,370
♪ Meu amor não vai esperar ♪
371
00:17:31,540 --> 00:17:35,200
(Folk Music playing)
372
00:17:35,200 --> 00:17:37,830
♪ ♪
373
00:17:40,830 --> 00:17:43,830
♪ Você não consegue ver que eu te amo? ♪
374
00:17:43,830 --> 00:17:47,540
♪ Por favor, não quebre meu coração em dois ♪
375
00:17:47,540 --> 00:17:49,700
♪ Isso não é difícil de fazer ♪
376
00:17:49,700 --> 00:17:54,580
♪ Porque eu não tenho um coração de madeira ♪
377
00:17:54,580 --> 00:17:55,540
(riso)
378
00:17:55,540 --> 00:17:58,540
♪ E se você disser adeus ♪
379
00:17:58,540 --> 00:18:01,500
♪ Então eu sei que eu choraria ♪
380
00:18:01,500 --> 00:18:04,330
Jorgensen: Para Elvis ter que fazer GI Blues,
381
00:18:04,330 --> 00:18:07,160
refletindo seus dois anos no exército
382
00:18:07,160 --> 00:18:11,410
de uma forma que provavelmente não se compara muito ao que era,
383
00:18:11,410 --> 00:18:14,370
Eu não acho que ele realmente gostou disso.
384
00:18:14,370 --> 00:18:17,200
GI Blues foi um tipo de família de filmes
385
00:18:17,200 --> 00:18:21,040
movendo a imagem de Elvis em uma direção completamente diferente
386
00:18:21,040 --> 00:18:24,910
dos personagens muito jovens e agressivos dos filmes dos anos 50.
387
00:18:26,790 --> 00:18:30,410
Mas ele recebeu a promessa de que haveria dois filmes
388
00:18:30,410 --> 00:18:32,950
para a 20th Century Fox, seguindo isso,
389
00:18:32,950 --> 00:18:35,250
que eram papéis sérios.
390
00:18:35,250 --> 00:18:40,450
Pode ter sido uma barganha razoável para Elvis na época.
391
00:18:40,450 --> 00:18:43,870
Priscilla: Quando ele descobriu as músicas que ele tinha que fazer em GI Blues,
392
00:18:43,870 --> 00:18:46,500
ele disse: "Baby, eu não sei como isso vai acontecer.
393
00:18:46,500 --> 00:18:48,330
Estou um pouco desapontado ".
394
00:18:48,330 --> 00:18:50,620
Jorgensen: As músicas que eles tiveram que encaixar no enredo,
395
00:18:50,620 --> 00:18:53,040
mas musicalmente, eles não estavam onde Elvis estava.
396
00:18:54,910 --> 00:18:56,790
Ele faz um compromisso.
397
00:18:56,790 --> 00:18:59,870
Essa foi a parte realmente desanimadora de Elvis.
398
00:19:02,370 --> 00:19:04,200
A trilha sonora do GI Blues,
399
00:19:04,200 --> 00:19:07,580
foi o álbum de maior sucesso que eles fizeram.
400
00:19:07,580 --> 00:19:11,080
Ele vendeu muito mais do que o álbum de estúdio absolutamente brilhante
401
00:19:11,080 --> 00:19:13,120
que saiu alguns meses antes.
402
00:19:14,410 --> 00:19:16,450
Schilling: Elvis agora é um grande negócio.
403
00:19:16,450 --> 00:19:18,200
Então, ao invés de sair,
404
00:19:18,200 --> 00:19:21,370
recebendo os melhores compositores em geral,
405
00:19:21,370 --> 00:19:23,000
Hill & Range, do coronel,
406
00:19:23,000 --> 00:19:25,120
estavam contratando um casal de compositores
407
00:19:25,120 --> 00:19:27,790
para escrever músicas de Elvis.
408
00:19:27,790 --> 00:19:31,370
Briggs: Eles trariam todo o material,
409
00:19:31,370 --> 00:19:34,200
que foi a regra tácita.
410
00:19:34,200 --> 00:19:36,330
Ninguém mais foi permitido
411
00:19:36,330 --> 00:19:39,040
para trazer qualquer música na sessão.
412
00:19:39,040 --> 00:19:43,080
Isso foi muito rigidamente controlada pelo coronel,
413
00:19:43,080 --> 00:19:44,580
pela editora,
414
00:19:44,580 --> 00:19:47,290
e pela gravadora.
415
00:19:47,290 --> 00:19:49,160
Oeste: O coronel finalmente começou a ficar
416
00:19:49,160 --> 00:19:50,910
uma porcentagem de tudo.
417
00:19:50,910 --> 00:19:52,160
Ele era um homem de negócios.
418
00:19:52,160 --> 00:19:55,120
Ele não dava a mínima se valeu a pena uma porcaria.
419
00:19:55,120 --> 00:19:59,250
Schilling: Elvis poderia me importar menos sobre a composição,
420
00:19:59,250 --> 00:20:01,040
publicação em geral.
421
00:20:01,040 --> 00:20:03,000
Algumas delas, ele recebeu e entendeu,
422
00:20:03,000 --> 00:20:07,120
mas ele se preocupava mais com bom material.
423
00:20:07,120 --> 00:20:09,620
Petty: Foi mais sobre o Coronel possuir a publicação,
424
00:20:09,620 --> 00:20:14,500
que era uma enorme pedra no lugar dele o resto de sua vida.
425
00:20:14,500 --> 00:20:18,500
Foi esse negócio de "Devemos possui os direitos autorais
426
00:20:18,500 --> 00:20:21,620
ou nós não queremos que você faça isso."
427
00:20:21,620 --> 00:20:23,910
Priscilla: Elvis disse: "Eu estou começando a sentir a pressão.
428
00:20:23,910 --> 00:20:25,160
"Eu sou obrigado aqui.
429
00:20:25,160 --> 00:20:27,120
I don't think there's a way out for me."
430
00:20:27,120 --> 00:20:29,330
And I said, "Well, can't you talk to Colonel?"
431
00:20:29,330 --> 00:20:32,540
And that's when I think he started getting disillusioned.
432
00:20:32,540 --> 00:20:35,200
Basically, Colonel was part of it.
433
00:20:35,200 --> 00:20:38,200
Already, he's feeling that he's not in control,
434
00:20:38,200 --> 00:20:40,700
and this is really early on.
435
00:20:45,620 --> 00:20:50,290
Gladys Presley: ♪ Oh, home sweet home ♪
436
00:20:50,290 --> 00:20:55,750
♪ There's no place like home ♪
437
00:20:55,750 --> 00:20:58,580
(song continues)
438
00:21:07,620 --> 00:21:11,200
Priscilla: I already had a feeling of what Graceland was like
439
00:21:11,200 --> 00:21:13,910
through Elvis's description.
440
00:21:13,910 --> 00:21:15,160
He told me in Germany,
441
00:21:15,160 --> 00:21:17,250
"I want you to come and see Graceland."
442
00:21:18,580 --> 00:21:20,750
And he would give me images.
443
00:21:23,950 --> 00:21:25,950
When I came, the first time,
444
00:21:25,950 --> 00:21:29,290
he told me to close my eyes, and not to open them.
445
00:21:29,290 --> 00:21:33,290
We're driving, and then he said, "Open them."
446
00:21:36,160 --> 00:21:38,250
The gates of Graceland open up.
447
00:21:40,080 --> 00:21:43,120
It was everything that he'd described.
448
00:21:43,120 --> 00:21:45,870
It was bigger than life for me.
449
00:21:45,870 --> 00:21:47,790
His safe haven.
450
00:21:51,660 --> 00:21:53,330
Schilling: Graceland always represented
451
00:21:53,330 --> 00:21:57,290
something more than just a house to Elvis.
452
00:21:57,290 --> 00:21:58,870
Light: Graceland was something initially
453
00:21:58,870 --> 00:22:01,910
that he had bought with and for his parents,
454
00:22:01,910 --> 00:22:04,450
and it reminded him of his mother,
455
00:22:04,450 --> 00:22:07,910
her presence and her influence in his life,
456
00:22:07,910 --> 00:22:11,160
which didn't end after she died.
457
00:22:11,160 --> 00:22:12,750
Priscilla: I opened up a closet
458
00:22:12,750 --> 00:22:14,660
and it was filled with her clothes.
459
00:22:16,700 --> 00:22:19,580
And I had such a sense of her.
460
00:22:19,580 --> 00:22:21,540
She liked soft fabric.
461
00:22:21,540 --> 00:22:23,950
Her hats, her shoes--
462
00:22:23,950 --> 00:22:27,330
he hung on to those personal things.
463
00:22:27,330 --> 00:22:29,370
Even though it had been a few years,
464
00:22:29,370 --> 00:22:33,330
there was still a lingering scent there, of her.
465
00:22:34,500 --> 00:22:37,660
It really showed me the love that he had for her.
466
00:22:38,910 --> 00:22:42,040
Elvis: She never really wanted anything,
467
00:22:42,040 --> 00:22:43,620
you know, anything fancy.
468
00:22:43,620 --> 00:22:46,660
She just stayed the same all the way through the whole thing.
469
00:22:48,160 --> 00:22:50,500
There's a lot of things happened,
470
00:22:50,500 --> 00:22:52,080
and there are times when it feels like
471
00:22:52,080 --> 00:22:54,540
I don't know what I'm gonna do next, you know?
472
00:22:55,790 --> 00:22:58,000
Light: Once he got back to Graceland
473
00:22:58,000 --> 00:23:01,540
and wanted to reconnect with the spirit he was brought up in
474
00:23:01,540 --> 00:23:04,250
and the memory of his mother,
475
00:23:04,250 --> 00:23:06,500
the best way was to go back to the music
476
00:23:06,500 --> 00:23:09,120
that he had grown up with.
477
00:23:09,120 --> 00:23:12,000
Zanes: The theme of return,
478
00:23:12,000 --> 00:23:15,330
and in Elvis's case, a return to gospel,
479
00:23:15,330 --> 00:23:19,200
is part of how we all experience music.
480
00:23:20,870 --> 00:23:23,410
There are these profound experiences
481
00:23:23,410 --> 00:23:27,660
that happen with music at a younger age.
482
00:23:27,660 --> 00:23:31,040
Through our lives, we're often chasing them.
483
00:23:34,330 --> 00:23:38,330
If you were raised in the proximity of gospel,
484
00:23:38,330 --> 00:23:43,040
that's what launched you into the world of emotional music.
485
00:23:44,580 --> 00:23:48,290
West: He was getting into another phase in his life,
486
00:23:48,290 --> 00:23:52,040
and gospel, religious music, was his favorite,
487
00:23:52,040 --> 00:23:54,580
and that's why he did it.
488
00:23:54,580 --> 00:23:56,410
Jorgensen: Just on the heels of G.I. Blues,
489
00:23:56,410 --> 00:24:00,410
he goes in and records a complete album of gospel music
490
00:24:00,410 --> 00:24:02,410
with songs from all his old heroes:
491
00:24:02,410 --> 00:24:06,000
Blackwood Brothers, Golden Gate, Statesmen Quartet.
492
00:24:06,000 --> 00:24:08,750
It's a tribute to everything he came from,
493
00:24:08,750 --> 00:24:11,950
and he does it with a voice at his best ever.
494
00:24:11,950 --> 00:24:14,580
Elvis: ♪ Why don't you swing low, sweet chariot ♪
495
00:24:14,580 --> 00:24:16,540
♪ Stop and let me ride ♪
496
00:24:16,540 --> 00:24:18,750
Tony Brown: It was so close to those records
497
00:24:18,750 --> 00:24:20,750
that the Statesmen and Blackwoods were making.
498
00:24:20,750 --> 00:24:23,910
It could've been those records.
499
00:24:23,910 --> 00:24:27,000
Jorgensen: He had the Jordanaires as the key element
500
00:24:27,000 --> 00:24:29,750
of developing a gospel feel
501
00:24:29,750 --> 00:24:32,580
with a band feel that was true to the music
502
00:24:32,580 --> 00:24:34,410
on the Elvis is Back! album.
503
00:24:34,410 --> 00:24:35,870
Elvis: ♪ Let me ride ♪
504
00:24:35,870 --> 00:24:37,910
♪ Rock me, Lord, rock me, Lord ♪
505
00:24:37,910 --> 00:24:39,750
Jorgensen: Obviously, it's not really rock and roll,
506
00:24:39,750 --> 00:24:42,040
but there's drums and there's saxophones.
507
00:24:42,040 --> 00:24:43,450
There's a lot of swing to it.
508
00:24:43,450 --> 00:24:45,750
♪ Sweet, sweet, sweet, sweet ♪
509
00:24:45,750 --> 00:24:48,040
Elvis: ♪ Well, well ♪
510
00:24:48,040 --> 00:24:50,290
Petty: The way he blended them together
511
00:24:50,290 --> 00:24:53,620
is an incredibly original thing to do.
512
00:24:53,620 --> 00:24:57,660
Sometimes, you know, he wasn't traveling very far away from the gospel.
513
00:24:57,660 --> 00:25:00,910
I mean, some of it, it was just about putting a beat to it.
514
00:25:00,910 --> 00:25:02,950
Elvis: ♪ Wasn't so particular about the chariot wheel ♪
515
00:25:02,950 --> 00:25:04,620
Petty: That angle of the two and the four are
516
00:25:04,620 --> 00:25:07,790
slightly different than gospel good.
517
00:25:07,790 --> 00:25:10,290
Elvis: ♪ Why don't you swing down, sweet chariot, stop ♪
518
00:25:10,290 --> 00:25:12,160
♪ And let me ride ♪
519
00:25:12,160 --> 00:25:14,870
Jorgensen: You have a feeling that he's truly enjoying this.
520
00:25:14,870 --> 00:25:17,450
It's a very joyous record to listen to.
521
00:25:17,450 --> 00:25:21,000
Schilling: His Hand in Mine was a passion.
522
00:25:21,000 --> 00:25:25,200
The whole gospel influence was as much a part of him,
523
00:25:25,200 --> 00:25:29,160
and maybe even more so as the rhythm and blues.
524
00:25:29,160 --> 00:25:31,620
This was just his opportunity to get it out.
525
00:25:31,620 --> 00:25:33,620
Priscilla: And it was a mission to show others,
526
00:25:33,620 --> 00:25:36,660
the listeners, that in these choices of music
527
00:25:36,660 --> 00:25:38,080
and how it's embellished,
528
00:25:38,080 --> 00:25:40,790
really what Elvis was looking for as an artist,
529
00:25:40,790 --> 00:25:42,500
to have that freedom.
530
00:25:42,500 --> 00:25:44,160
It's that simple.
531
00:25:44,160 --> 00:25:48,410
Elvis: ♪ Just wanted to lay down this heavy load ♪
532
00:25:48,410 --> 00:25:50,540
♪ Why don't you swing down, sweet chariot ♪
533
00:25:50,540 --> 00:25:52,790
♪ Stop, let me ride ♪
534
00:25:52,790 --> 00:25:54,250
Man: How's Blue Hawaii going?
535
00:25:54,250 --> 00:25:55,580
Elvis: It's going on very well.
536
00:25:55,580 --> 00:25:57,080
We leave tomorrow for Kauai, you know. Yeah.
537
00:25:57,080 --> 00:25:58,790
I think we'll be there for about 10 days.
538
00:25:58,790 --> 00:26:00,250
Man: Tell us about Blue Hawaii a bit.
539
00:26:00,250 --> 00:26:02,450
Elvis: There's about 11 songs in it.
540
00:26:02,450 --> 00:26:04,500
Some Hawaiian tunes? Yeah.
541
00:26:04,500 --> 00:26:06,620
You got some special material written for you for the picture?
542
00:26:06,620 --> 00:26:09,750
Elvis: Yeah, we had about 10 songs written especially for the picture.
543
00:26:09,750 --> 00:26:12,000
We do that, you know, before the picture starts.
544
00:26:12,000 --> 00:26:15,040
♪ ♪
545
00:26:17,870 --> 00:26:21,620
Jorgensen: The film Blue Hawaii was an overwhelming success.
546
00:26:21,620 --> 00:26:24,700
That is the point where it gets real interesting.
547
00:26:26,160 --> 00:26:27,540
Jackson: The two dramas,
548
00:26:27,540 --> 00:26:29,290
Wild in the Country and Flaming Star,
549
00:26:29,290 --> 00:26:32,700
they're not as music heavy, and they actually lose money.
550
00:26:32,700 --> 00:26:34,580
Priscilla: And that's when they told him,
551
00:26:34,580 --> 00:26:36,950
"This is proof. This is what the public wants.
552
00:26:36,950 --> 00:26:38,750
"People just wanna hear your music.
553
00:26:38,750 --> 00:26:41,870
They wanna hear you sing in movies."
554
00:26:41,870 --> 00:26:43,410
(crowd cheering)
555
00:26:43,410 --> 00:26:46,580
Schilling: The last concert he played, for almost a decade,
556
00:26:46,580 --> 00:26:49,040
was a charity show near Pearl Harbor.
557
00:26:49,040 --> 00:26:51,080
♪ ♪
558
00:26:55,830 --> 00:26:58,540
(women screaming)
559
00:26:59,910 --> 00:27:03,830
Elvis: ♪ Well, so long ♪
560
00:27:03,830 --> 00:27:06,330
Jackson: That was like the ultimate charity show,
561
00:27:06,330 --> 00:27:07,790
because it was for the building
562
00:27:07,790 --> 00:27:09,410
of the Pearl Harbor memorial.
563
00:27:09,410 --> 00:27:10,790
Couldn't be more patriotic.
564
00:27:10,790 --> 00:27:12,700
Couldn't have been more of a cause
565
00:27:12,700 --> 00:27:14,250
that people could get behind.
566
00:27:15,250 --> 00:27:17,200
He's back, he's served his time.
567
00:27:17,200 --> 00:27:18,410
He's a great patriot.
568
00:27:18,410 --> 00:27:21,290
It was more to build that piece of the story
569
00:27:21,290 --> 00:27:23,290
that the Colonel wanted to tell.
570
00:27:23,290 --> 00:27:25,580
He's cleaned up and he's a good boy.
571
00:27:25,580 --> 00:27:27,750
Elvis: ♪ Let you go ahead on, baby ♪
572
00:27:29,290 --> 00:27:32,750
♪ Pray that you'll come back home some time ♪
573
00:27:32,750 --> 00:27:35,120
Boots Randolph. (women scream)
574
00:27:35,120 --> 00:27:38,620
Jackson: The band that he brings with him is very interesting.
575
00:27:38,620 --> 00:27:40,000
He has Scotty and DJ,
576
00:27:40,000 --> 00:27:42,410
but he brings with him his all-star
577
00:27:42,410 --> 00:27:44,950
Nashville, session guy band,
578
00:27:44,950 --> 00:27:48,290
including Boots Randolph, who was a great saxophone player.
579
00:27:48,290 --> 00:27:50,330
♪ ♪ (women screaming)
580
00:27:52,620 --> 00:27:54,950
Jackson: Boots Randolph brings in a lead instrument
581
00:27:54,950 --> 00:27:57,580
that can balance out Elvis's singing
582
00:27:57,580 --> 00:28:00,160
in a way that Scotty playing rockabilly licks
583
00:28:00,160 --> 00:28:02,290
didn't do previously.
584
00:28:02,290 --> 00:28:05,370
So it just becomes a much more full sound.
585
00:28:05,370 --> 00:28:08,750
♪ ♪
586
00:28:08,750 --> 00:28:11,160
Light: It's a tragedy that he didn't continue
587
00:28:11,160 --> 00:28:13,750
to play live for people at that point.
588
00:28:13,750 --> 00:28:15,620
But the Colonel knew that the films
589
00:28:15,620 --> 00:28:19,540
got Elvis in front of millions of people simultaneously
590
00:28:19,540 --> 00:28:21,540
with as little work as possible.
591
00:28:23,160 --> 00:28:26,160
Landau: The post-Army films, I went to them.
592
00:28:26,160 --> 00:28:30,450
They were a separate category for what happened in the '50s.
593
00:28:30,450 --> 00:28:32,660
He finds himself in a situation
594
00:28:32,660 --> 00:28:34,830
where he's just churning out stuff
595
00:28:34,830 --> 00:28:37,160
that he couldn't possibly have believed in.
596
00:28:37,160 --> 00:28:39,500
Elvis: ♪ I said, take it easy, baby, I worked all day ♪
597
00:28:39,500 --> 00:28:41,620
♪ And my feet feel just like lead ♪
598
00:28:41,620 --> 00:28:44,080
♪ You got my shirttails flying all over the place ♪
599
00:28:44,080 --> 00:28:46,160
♪ And the sweat poppin' outta my head ♪
600
00:28:46,160 --> 00:28:48,500
♪ She said, Hey, bossa nova, baby, keep on workin' ♪
601
00:28:48,500 --> 00:28:50,660
♪ For this ain't no time to quit ♪
602
00:28:50,660 --> 00:28:53,080
♪ She said, Go bossa nova, baby, keep on dancin' ♪
603
00:28:53,080 --> 00:28:55,870
♪ I'm about to have myself a fit ♪
604
00:28:55,870 --> 00:29:00,040
♪ Bossa nova, bossa nova ♪
605
00:29:00,040 --> 00:29:03,870
Schilling: The Colonel negotiated contract after contract.
606
00:29:03,870 --> 00:29:08,120
MGM, Paramount, United Artists, you name it.
607
00:29:08,120 --> 00:29:11,330
Hal Blaine: He was inundated with work, work, work, work.
608
00:29:11,330 --> 00:29:13,200
Elvis: ♪ I can dance with a drink in my hand ♪
609
00:29:13,200 --> 00:29:15,500
♪ She said, Hey, bossa nova, baby, keep on workin' ♪
610
00:29:15,500 --> 00:29:17,200
♪ For this ain't no time to drink ♪
611
00:29:17,200 --> 00:29:20,040
Blaine: Everybody was trying to get every penny they could
612
00:29:20,040 --> 00:29:22,160
out of whatever they could.
613
00:29:22,160 --> 00:29:27,120
♪ Bossa nova ♪
614
00:29:27,120 --> 00:29:31,040
♪ ♪
615
00:29:31,040 --> 00:29:33,830
Jackson: He had to make three movies a year.
616
00:29:33,830 --> 00:29:36,450
So these soundtrack albums became a big part
617
00:29:36,450 --> 00:29:40,250
da obrigação contratual para liberar a música com a RCA.
618
00:29:40,250 --> 00:29:42,250
Elvis: ♪ Bossa nova ♪
619
00:29:42,250 --> 00:29:43,700
Oeste: Que não era sua música.
620
00:29:43,700 --> 00:29:45,950
Estava matando sua carreira de gravações,
621
00:29:45,950 --> 00:29:49,700
Porque eles eram canções do filme, canções de situação.
622
00:29:49,700 --> 00:29:53,080
Priscilla: Obviamente, em alguns dos filmes, você tem alguns sucessos...
623
00:29:53,080 --> 00:29:55,290
"Viva Las Vegas", "Bossa Nova Baby".
624
00:29:55,290 --> 00:29:56,910
Eles não eram tão maus,
625
00:29:56,910 --> 00:29:59,410
Mas porque era ligado ao cinema,
626
00:29:59,410 --> 00:30:01,950
Não era como um disco real.
627
00:30:01,950 --> 00:30:04,200
As canções tinham que ajustar a cena.
628
00:30:04,200 --> 00:30:07,330
Jorgensen: E o Coronel obviamente sabia que o melhor formato
629
00:30:07,330 --> 00:30:10,040
foi meninas e belos locais.
630
00:30:11,750 --> 00:30:14,000
Robbie Robertson: Eu pensei que era terrível, direção...
631
00:30:14,000 --> 00:30:17,450
a ideia de fazer um monte de filmes piegas-cu,
632
00:30:17,450 --> 00:30:21,660
Onde isto está tudo sendo levado? É terra de ninguém.
633
00:30:21,660 --> 00:30:26,370
Petty: Que..--ele certamente sabe que essa música é uma porcaria.
634
00:30:26,370 --> 00:30:29,120
Os filmes eram muito prejudiciais para sua imagem.
635
00:30:29,120 --> 00:30:32,120
Como um inovador, como um grande músico,
636
00:30:32,120 --> 00:30:33,410
Eles eram prejudiciais.
637
00:30:33,410 --> 00:30:36,580
Ele é muito talentoso. Quer dizer, ele é muito presente.
638
00:30:36,580 --> 00:30:39,200
É uma imagem incrível dele.
639
00:30:39,200 --> 00:30:42,660
Mas onde ele teve um bom começo no cinema
640
00:30:42,660 --> 00:30:45,700
e fez algumas coisas criativas logo no início,
641
00:30:45,700 --> 00:30:48,950
e você podia ver que havia um grande potencial para esse cara,
642
00:30:48,950 --> 00:30:51,160
havia realmente nenhuma maneira para ele
643
00:30:51,160 --> 00:30:53,750
para se tornar a grande estrela de cinema
644
00:30:53,750 --> 00:30:55,620
que ele teria gostado de ter sido
645
00:30:55,620 --> 00:30:57,910
e o Coronel manter o controlo do mesmo.
646
00:30:57,910 --> 00:30:59,370
Você sabe, há muitos
647
00:30:59,370 --> 00:31:01,660
aspectos criativos que vai para entrar,
648
00:31:01,660 --> 00:31:02,950
e eles vão para o desafio
649
00:31:02,950 --> 00:31:06,580
mentalidade de Carnaval do Coronel.
650
00:31:06,580 --> 00:31:08,830
Coronel Tom Parker: Bem, não, não, não, não, não. Não, não, não.
651
00:31:08,830 --> 00:31:10,620
Até onde eu estava preocupado,
652
00:31:10,620 --> 00:31:14,540
Eu não estava envolvido, além de fazer o contrato.
653
00:31:14,540 --> 00:31:18,160
Ele teve a oportunidade de dizer, "não quero fazê-lo
654
00:31:18,160 --> 00:31:19,790
ou gostaria de fazê-lo."
655
00:31:19,790 --> 00:31:23,120
Ninguém disse que ele tinha de fazer uma foto
656
00:31:23,120 --> 00:31:25,040
que ele não queria fazer.
657
00:31:25,040 --> 00:31:27,910
Quando tivemos um script, nós iria entregá-lo para o Elvis.
658
00:31:27,910 --> 00:31:31,620
Xelim: Elvis recusou uma foto ruim.
659
00:31:31,620 --> 00:31:33,660
Entra o Coronel,
660
00:31:33,660 --> 00:31:35,330
em vem dos estúdios,
661
00:31:35,330 --> 00:31:37,450
entra a gravadora.
662
00:31:37,450 --> 00:31:38,950
Eles diziam-lhe,
663
00:31:38,950 --> 00:31:41,370
"Você não cumprir seus contratos,
664
00:31:41,370 --> 00:31:43,370
Você não vai fazer nada."
665
00:31:43,370 --> 00:31:45,500
♪ Bem, vamos lá todos ♪
666
00:31:45,500 --> 00:31:47,450
♪ e vire a cabeça para a esquerda ♪
667
00:31:47,450 --> 00:31:49,580
♪ ♪
668
00:31:49,580 --> 00:31:50,830
♪ Vamos todo mundo ♪
669
00:31:50,830 --> 00:31:52,120
Jackson: Em Viva Las Vegas,
670
00:31:52,120 --> 00:31:55,580
é o mais próximo que ele nunca vai ter uma verdadeira co-estrela.
671
00:31:55,580 --> 00:31:58,250
Respire profundamente e repita depois de mim ♪
672
00:31:58,250 --> 00:31:59,950
Jackson: Isso torna-se um problema para o Coronel,
673
00:31:59,950 --> 00:32:02,500
Porque ele não quer ninguém até mesmo
674
00:32:02,500 --> 00:32:04,950
chegou perto ofuscando o Elvis.
675
00:32:04,950 --> 00:32:07,370
♪-Ei, Ei, Ei e meu bebê me ama ♪
676
00:32:07,370 --> 00:32:08,830
Coro: ♪ meu bebê me ama ♪
677
00:32:08,830 --> 00:32:13,700
♪ Meu bebê me ama ♪ coro: ♪ meu bebê me ama ♪
678
00:32:13,700 --> 00:32:15,540
♪ Meu bebê me ama ♪
679
00:32:15,540 --> 00:32:19,040
♪ eu disse, meu bebê...
680
00:32:19,040 --> 00:32:22,160
Ha! ♪ ♪ Meu bebê
681
00:32:22,160 --> 00:32:27,120
♪ me ama ♪ Ha! Ha! Ha! Ha! Ha!
682
00:32:28,250 --> 00:32:32,410
Ann-Margaret (rindo): Wee-ha!
683
00:32:32,410 --> 00:32:36,000
Fichário: O Coronel não queria Ann-Margaret em seu mundo
684
00:32:36,000 --> 00:32:38,290
Depois que ela deve ter um monte de imprensa.
685
00:32:39,580 --> 00:32:43,450
Todos os que tiveram influência sobre Elvis era uma ameaça.
686
00:32:43,450 --> 00:32:47,080
Landau: A tragédia do velho estilo de gestão
687
00:32:47,080 --> 00:32:51,200
era tentar manter o controle do artista
688
00:32:51,200 --> 00:32:55,290
limitando sua exposição às oportunidades.
689
00:32:57,500 --> 00:32:59,290
O Coronel não estava interessado
690
00:32:59,290 --> 00:33:03,000
in Elvis becoming too independent of a thinker.
691
00:33:03,000 --> 00:33:07,080
He needed Elvis to think that everything good came from the Colonel
692
00:33:07,080 --> 00:33:12,080
and anything bad came from imagined enemies.
693
00:33:12,080 --> 00:33:15,330
He kept that con game going for much too long.
694
00:33:18,620 --> 00:33:21,620
Zanes: The years spent chasing the movies,
695
00:33:21,620 --> 00:33:23,290
you know, seven years,
696
00:33:23,290 --> 00:33:26,700
they were very destabilizing for Elvis,
697
00:33:26,700 --> 00:33:30,750
because music was always the buoy.
698
00:33:30,750 --> 00:33:33,540
Jackson: It's clear about halfway through that period,
699
00:33:33,540 --> 00:33:35,160
he becomes very restless,
700
00:33:35,160 --> 00:33:38,250
and very annoyed with the whole process.
701
00:33:38,250 --> 00:33:41,290
Schilling: Elvis didn't have script approval.
702
00:33:41,290 --> 00:33:43,160
There weren't great budgets.
703
00:33:43,160 --> 00:33:46,080
Priscilla: The humdrum movies that he was given--
704
00:33:46,080 --> 00:33:48,200
boy chase girl, boy gets girl,
705
00:33:48,200 --> 00:33:50,700
they get married, and it's happily ever after--
706
00:33:50,700 --> 00:33:52,580
that was not Elvis Presley.
707
00:33:52,580 --> 00:33:54,580
He was not that man.
708
00:33:54,580 --> 00:33:56,200
He was much deeper than that.
709
00:33:57,540 --> 00:33:59,540
He had no inspiration whatsoever.
710
00:33:59,540 --> 00:34:01,160
He knew he had to make it work.
711
00:34:01,160 --> 00:34:03,160
He knew he was under a contract,
712
00:34:03,160 --> 00:34:05,040
and he walked through every one of them.
713
00:34:08,540 --> 00:34:11,370
After a movie, he felt trapped.
714
00:34:11,370 --> 00:34:13,370
He dreaded the next script,
715
00:34:13,370 --> 00:34:17,330
because he knew it would be the same thing over and over again.
716
00:34:17,330 --> 00:34:19,160
But the disconnect,
717
00:34:19,160 --> 00:34:21,450
the disconnect in the two
718
00:34:21,450 --> 00:34:23,910
was really wearing on his mind--
719
00:34:23,910 --> 00:34:28,830
that Colonel was not taking him to the place he needed to be.
720
00:34:28,830 --> 00:34:31,370
Petty: This is what we'll never understand
721
00:34:31,370 --> 00:34:33,910
is why did Colonel Parker have
722
00:34:33,910 --> 00:34:36,410
this kind of influence over him.
723
00:34:36,410 --> 00:34:41,410
Why was he willing to knowingly humiliate himself for this man,
724
00:34:41,410 --> 00:34:44,950
or for the money promised him by this man?
725
00:34:44,950 --> 00:34:46,540
He puts up with it.
726
00:34:48,200 --> 00:34:50,620
Porter: I have never felt Elvis was lost.
727
00:34:50,620 --> 00:34:52,750
He knew with all those movies,
728
00:34:52,750 --> 00:34:54,290
as is the case with every artist,
729
00:34:54,290 --> 00:34:56,370
that they're taking themselves away from their strength.
730
00:34:56,370 --> 00:34:59,660
Many artists can't get back to where their strengths are.
731
00:35:01,370 --> 00:35:04,080
Emmylou Harris: An artist has to constantly grow,
732
00:35:04,080 --> 00:35:05,950
and to continue creating,
733
00:35:05,950 --> 00:35:09,700
and changing, and being inspired by things around him
734
00:35:09,700 --> 00:35:12,370
in a spiritual or a personal way.
735
00:35:13,450 --> 00:35:15,580
♪ ♪
736
00:35:23,250 --> 00:35:25,410
Elvis: I'd like to stay in the same vein.
737
00:35:25,410 --> 00:35:27,580
I-I mean, I wouldn't like to, uh,
738
00:35:27,580 --> 00:35:29,450
be at a standstill, you know what I mean?
739
00:35:29,450 --> 00:35:32,910
I'd like-- I'd like to progress.
740
00:35:32,910 --> 00:35:35,410
I'd like to do a lot of things, but I...
741
00:35:36,750 --> 00:35:39,750
I realize, uh, that it takes time,
742
00:35:39,750 --> 00:35:41,410
and you can't, uh,
743
00:35:41,410 --> 00:35:45,870
you can't go out of your, uh, capa-- uh, your limitations.
744
00:35:47,410 --> 00:35:50,410
You have to know your capabilities, you know.
745
00:35:50,410 --> 00:35:53,120
Like I have people to say to me all the time,
746
00:35:53,120 --> 00:35:54,450
(stammering)
747
00:35:54,450 --> 00:35:56,700
"Why don't you do an artistic picture?
748
00:35:56,700 --> 00:35:58,910
"Why don't you do this picture and that picture?
749
00:35:58,910 --> 00:36:01,410
Why don't you go do something blah, blah?"
750
00:36:01,410 --> 00:36:03,950
Well, that's fine, but, uh...
751
00:36:05,870 --> 00:36:07,620
Uh, I would like to.
752
00:36:07,620 --> 00:36:09,080
I'd like to do something someday
753
00:36:09,080 --> 00:36:12,290
where I feel that I really done a good job.
754
00:36:12,290 --> 00:36:16,950
You know, as an actor in a certain type role,
755
00:36:18,080 --> 00:36:20,120
if what you're doing is doing okay,
756
00:36:20,120 --> 00:36:23,200
you're better off sticking with it until, you know,
757
00:36:23,200 --> 00:36:26,120
until just time itself changes things.
758
00:36:31,370 --> 00:36:35,250
♪ ♪
759
00:36:35,250 --> 00:36:40,830
Zanes: The great irony is that Elvis was such a significant force
760
00:36:40,830 --> 00:36:43,040
in the launch of rock and roll,
761
00:36:43,040 --> 00:36:46,540
and the very revolution that he sparked
762
00:36:46,540 --> 00:36:48,250
carries on without him.
763
00:36:48,250 --> 00:36:51,660
There is a renaissance that is underway,
764
00:36:51,660 --> 00:36:56,330
and he is, in effect, in a bubble in Hollywood,
765
00:36:56,330 --> 00:36:59,910
as it passes him by.
766
00:36:59,910 --> 00:37:03,330
Priscilla: '63, '64, '65, when all the bands were coming in,
767
00:37:03,330 --> 00:37:05,330
he just didn't really wanna hear music.
768
00:37:05,330 --> 00:37:06,660
He didn't wanna hear the songs.
769
00:37:06,660 --> 00:37:10,000
Was there room for him now, being a solo artist?
770
00:37:10,000 --> 00:37:14,250
Elvis really wasn't interested in writing his own music,
771
00:37:14,250 --> 00:37:15,750
and all these other groups coming up,
772
00:37:15,750 --> 00:37:17,950
The Beatles, Bob Dylan, the Beach Boys,
773
00:37:17,950 --> 00:37:20,000
they all wrote their own songs,
774
00:37:20,000 --> 00:37:21,410
so they could direct their careers
775
00:37:21,410 --> 00:37:22,870
in a way Elvis couldn't.
776
00:37:24,370 --> 00:37:26,870
Petty: There is no road map at this point
777
00:37:26,870 --> 00:37:29,540
as to what a rock and roller does
778
00:37:29,540 --> 00:37:31,330
when he gets older.
779
00:37:31,330 --> 00:37:33,200
The Beatles had each other.
780
00:37:33,200 --> 00:37:36,290
You know, they had four people together to go through it.
781
00:37:36,290 --> 00:37:38,620
And Elvis was totally alone.
782
00:37:38,620 --> 00:37:40,950
There was no one vaguely his equal.
783
00:37:40,950 --> 00:37:45,200
There was nobody he could bounce anything off of.
784
00:37:47,950 --> 00:37:52,290
Priscilla: Elvis really didn't ask for anybody's advice.
785
00:37:52,290 --> 00:37:54,250
He didn't ask the guys for their advice.
786
00:37:54,250 --> 00:37:55,790
Oh my gosh, he would never.
787
00:37:55,790 --> 00:37:57,660
I mean, you didn't tell Elvis what to sing
788
00:37:57,660 --> 00:37:59,620
or what movie he should be in.
789
00:37:59,620 --> 00:38:01,290
Elvis was truly his own man.
790
00:38:01,290 --> 00:38:04,500
He needed someone to come in with a game plan and offer it to him.
791
00:38:04,500 --> 00:38:06,660
"What do you think of this?"
792
00:38:06,660 --> 00:38:11,120
But he hung out with the same people all the time.
793
00:38:11,120 --> 00:38:13,200
We all lived in this bubble.
794
00:38:13,200 --> 00:38:15,620
Very few outsiders came in.
795
00:38:15,620 --> 00:38:18,450
His world was really quite small,
796
00:38:18,450 --> 00:38:21,540
and only consisted of us, people that he trusted.
797
00:38:29,620 --> 00:38:33,120
You didn't really talk about the movies around Elvis.
798
00:38:33,120 --> 00:38:35,500
We didn't go there. Why get him upset?
799
00:38:35,500 --> 00:38:38,700
And people-- the guys were around to bring him up.
800
00:38:38,700 --> 00:38:41,450
Schilling: Elvis was going to us and saying,
801
00:38:41,450 --> 00:38:43,830
"Damn it, I know there's good music out there.
802
00:38:43,830 --> 00:38:47,410
I hear it. Why am I not getting it?"
803
00:38:47,410 --> 00:38:50,450
Petty: You can tell his interest in making records
804
00:38:50,450 --> 00:38:52,160
has kind of gone away.
805
00:38:52,160 --> 00:38:54,450
You don't get him in the studio a lot.
806
00:38:56,870 --> 00:38:59,750
Priscilla: He was just struggling with what to do next
807
00:38:59,750 --> 00:39:03,660
and where to go, trying to figure out his purpose again.
808
00:39:03,660 --> 00:39:06,540
It was very difficult to watch.
809
00:39:06,540 --> 00:39:08,660
♪ ♪
810
00:39:08,660 --> 00:39:11,830
Odetta: ♪ How many roads ♪
811
00:39:11,830 --> 00:39:16,080
♪ Must a man walk down ♪
812
00:39:18,250 --> 00:39:22,790
♪ Before you call him a man ♪
813
00:39:22,790 --> 00:39:24,450
Light: By this point,
814
00:39:24,450 --> 00:39:27,000
Elvis had grown so disconnected from the music
815
00:39:27,000 --> 00:39:28,790
that he was recording.
816
00:39:28,790 --> 00:39:31,410
He knew that it was inauthentic.
817
00:39:31,410 --> 00:39:35,160
He knew that it was insincere.
818
00:39:35,160 --> 00:39:38,830
And he was looking for some connection to music
819
00:39:38,830 --> 00:39:41,080
that still made him feel the way
820
00:39:41,080 --> 00:39:44,330
that music had made him feel when he was younger.
821
00:39:44,330 --> 00:39:47,660
Odetta: ♪ How many times ♪
822
00:39:47,660 --> 00:39:51,500
♪ Must a cannonball fly ♪
823
00:39:51,500 --> 00:39:56,160
Light: He was interested in this new folk music--
824
00:39:56,160 --> 00:39:58,790
Peter, Paul, & Mary, the songs of Bob Dylan.
825
00:39:58,790 --> 00:40:00,790
He didn't love Bob Dylan's voice,
826
00:40:00,790 --> 00:40:03,540
but he was interested in this imagery
827
00:40:03,540 --> 00:40:09,290
and this language that drew from the gospel and the blues.
828
00:40:09,290 --> 00:40:12,200
Priscilla: And here he has Odetta singing.
829
00:40:12,200 --> 00:40:13,500
When you hear the song,
830
00:40:13,500 --> 00:40:16,330
now you've got the lyrics that match his feelings,
831
00:40:16,330 --> 00:40:19,830
you've got the lyrics that he can see himself singing.
832
00:40:19,830 --> 00:40:25,410
Odetta: ♪ Only if my true love was waitin' ♪
833
00:40:25,410 --> 00:40:27,700
♪ ♪
834
00:40:27,700 --> 00:40:29,080
♪ If I... ♪
835
00:40:29,080 --> 00:40:30,870
Zanes: Many of his relationships
836
00:40:30,870 --> 00:40:33,620
with the culture of the day were circuitous,
837
00:40:33,620 --> 00:40:38,790
because he was Elvis and he was behind a-- a high wall.
838
00:40:38,790 --> 00:40:42,580
Elvis: ♪ Only she was ♪
839
00:40:42,580 --> 00:40:46,910
♪ Lying by me ♪
840
00:40:46,910 --> 00:40:49,200
♪ Then I'd lie ♪
841
00:40:49,200 --> 00:40:53,330
♪ In my bed once again ♪
842
00:40:53,330 --> 00:40:55,410
♪ ♪
843
00:41:03,040 --> 00:41:06,000
Priscilla: Elvis, a lot of times when everyone had gone to bed,
844
00:41:06,000 --> 00:41:07,410
or there was no one around,
845
00:41:07,410 --> 00:41:10,080
he would go into the music room at Graceland.
846
00:41:10,080 --> 00:41:12,750
Just sit there totally in solitude,
847
00:41:12,750 --> 00:41:16,370
as if even I wasn't around, and just start playing.
848
00:41:16,370 --> 00:41:18,450
Always it was gospel.
849
00:41:18,450 --> 00:41:21,410
Always it was "Precious Lord."
850
00:41:21,410 --> 00:41:24,660
Elvis: ♪ Precious Lord ♪
851
00:41:24,660 --> 00:41:27,330
♪ Take my hand ♪
852
00:41:27,330 --> 00:41:28,910
Priscilla: When he would sing,
853
00:41:28,910 --> 00:41:32,790
it was like a character study watching him get lost.
854
00:41:32,790 --> 00:41:35,790
Elvis: ♪ I'm tired ♪
855
00:41:35,790 --> 00:41:37,910
♪ I'm weak ♪
856
00:41:37,910 --> 00:41:42,950
♪ I'm worn ♪
857
00:41:42,950 --> 00:41:44,660
♪ Through the storm ♪
858
00:41:44,660 --> 00:41:48,450
Priscilla: And then, he'd look over to see how I was relating to it.
859
00:41:48,450 --> 00:41:50,200
He'd look over and wink at me.
860
00:41:50,200 --> 00:41:52,620
Elvis: ♪ Lead me on ♪
861
00:41:52,620 --> 00:41:55,700
Priscilla: Those were times that I cherish the most, actually.
862
00:41:55,700 --> 00:41:57,660
He wasn't really trying to impress anyone.
863
00:41:57,660 --> 00:41:59,410
He was doing it for himself
864
00:41:59,410 --> 00:42:01,410
and just getting in touch,
865
00:42:01,410 --> 00:42:03,580
getting in touch with his maker.
866
00:42:03,580 --> 00:42:05,290
It was a plea.
867
00:42:06,870 --> 00:42:10,540
Elvis: ♪ Well, you may run on for a long time ♪
868
00:42:10,540 --> 00:42:12,950
Chorus: ♪ Run on for a long time ♪
869
00:42:12,950 --> 00:42:15,290
Elvis: ♪ Run on for a long time ♪
870
00:42:15,290 --> 00:42:17,620
♪ Let me tell you, God Almighty's gonna cut you down ♪
871
00:42:17,620 --> 00:42:19,950
Jorgensen: He didn't have a burning desire anymore
872
00:42:19,950 --> 00:42:21,120
to record songs.
873
00:42:21,120 --> 00:42:22,500
Elvis: ♪ Midnight rider ♪
874
00:42:22,500 --> 00:42:25,000
Jorgensen: The real interesting element in that
875
00:42:25,000 --> 00:42:29,160
is that when he regains his appetite for recording
876
00:42:29,160 --> 00:42:33,290
and wants to prove a point in 1966,
877
00:42:33,290 --> 00:42:35,200
he makes a gospel record again.
878
00:42:35,200 --> 00:42:37,370
Elvis: ♪ Talkin' to the man from Galilee ♪
879
00:42:37,370 --> 00:42:39,000
Jorgensen: During the middle of The Beatles,
880
00:42:39,000 --> 00:42:40,540
and The Birds and The Stones,
881
00:42:40,540 --> 00:42:43,950
and Elvis makes a gospel record when he wants to come back.
882
00:42:43,950 --> 00:42:46,500
Elvis: ♪ Great God Almighty, let me tell you what he said ♪
883
00:42:46,500 --> 00:42:49,080
♪ Go tell that long-tongued liar ♪
884
00:42:49,080 --> 00:42:51,450
♪ Go tell that midnight rider ♪
885
00:42:51,450 --> 00:42:53,040
♪ Tell the gambler, rambler ♪
886
00:42:53,040 --> 00:42:55,870
Light: Elvis is connecting to new music.
887
00:42:55,870 --> 00:42:57,870
He wants a more modern sound,
888
00:42:57,870 --> 00:42:59,790
a more aggressive rhythm section,
889
00:42:59,790 --> 00:43:01,200
a rock and roll mix.
890
00:43:01,200 --> 00:43:03,790
Elvis: ♪ Run on for a long time ♪
891
00:43:03,790 --> 00:43:06,120
♪ Let me tell you, God Almighty's gonna cut you down ♪
892
00:43:06,120 --> 00:43:08,450
♪ You may throw your rock and hide your hand ♪
893
00:43:08,450 --> 00:43:10,250
Springsteen: I think Elvis's return to gospel
894
00:43:10,250 --> 00:43:13,870
was a part of simply the deep religiousness of the South
895
00:43:13,870 --> 00:43:16,290
and his upbringing.
896
00:43:16,290 --> 00:43:19,000
But in the late '60s, people were having a hard time
897
00:43:19,000 --> 00:43:20,950
looking past the kitsch aspect
898
00:43:20,950 --> 00:43:22,790
of some of the things that Elvis did.
899
00:43:22,790 --> 00:43:25,750
Elvis: ♪ You gonna reap just what you sow ♪
900
00:43:25,750 --> 00:43:27,330
Springsteen: To appreciate that music,
901
00:43:27,330 --> 00:43:29,330
that stuff couldn't bother you.
902
00:43:29,330 --> 00:43:30,580
Chorus: ♪ Long time ♪
903
00:43:30,580 --> 00:43:32,790
Elvis: ♪ Run on for a long time ♪
904
00:43:33,750 --> 00:43:36,080
(film projector whirring)
905
00:43:36,080 --> 00:43:37,950
♪ ♪
906
00:43:41,500 --> 00:43:43,410
Man: What do you think of yourself now?
907
00:43:44,700 --> 00:43:47,080
Elvis: You mean, uh, as an entertainer
908
00:43:47,080 --> 00:43:48,500
or an individual or what?
909
00:43:48,500 --> 00:43:49,790
Man: Both.
910
00:43:49,790 --> 00:43:52,660
Elvis: I can sum it up fairly easily.
911
00:43:52,660 --> 00:43:54,910
I, uh, as a-- as a human being, really,
912
00:43:54,910 --> 00:43:58,750
who's been very extremely fortunate in so many ways...
913
00:44:00,120 --> 00:44:02,250
I've a lot that I'd like to do,
914
00:44:02,250 --> 00:44:06,330
a lot that I'd like to accomplish.
915
00:44:06,330 --> 00:44:08,750
I'd like to get married. I'd like to have a family.
916
00:44:11,790 --> 00:44:14,200
I suppose the most important thing
917
00:44:14,200 --> 00:44:16,950
in a person's life is, uh, is happiness.
918
00:44:16,950 --> 00:44:19,620
I mean, not wordly things, because...
919
00:44:19,620 --> 00:44:21,790
You realize, I mean, you can have cars.
920
00:44:21,790 --> 00:44:23,950
You can have money. You can have a fabulous home.
921
00:44:23,950 --> 00:44:25,830
You can have everything.
922
00:44:25,830 --> 00:44:27,750
If you're not happy, what have you got?
923
00:44:30,790 --> 00:44:32,500
♪ ♪
924
00:44:34,790 --> 00:44:37,200
Priscilla: I was very young and very in love,
925
00:44:37,200 --> 00:44:40,290
and I wanted to be with him a lot.
926
00:44:40,290 --> 00:44:42,160
The times that we were together,
927
00:44:42,160 --> 00:44:43,580
I-I cherished.
928
00:44:43,580 --> 00:44:46,000
♪ ♪
929
00:44:48,910 --> 00:44:52,000
♪ ♪
930
00:44:55,450 --> 00:44:57,750
Woman: ♪ I picked up my bag ♪
931
00:44:57,750 --> 00:45:01,200
♪ And went looking for a place to hide ♪
932
00:45:01,200 --> 00:45:04,580
♪ When I saw old Carmen and the devil ♪
933
00:45:04,580 --> 00:45:07,500
♪ Walking side by side ♪
934
00:45:07,500 --> 00:45:09,620
Springsteen: I mean, 1968 was a wild
935
00:45:09,620 --> 00:45:12,540
and violent year in American history.
936
00:45:14,580 --> 00:45:16,580
Woman: ♪ She said I gotta go ♪
937
00:45:16,580 --> 00:45:19,040
♪ But my friend here can stick around ♪
938
00:45:19,040 --> 00:45:21,660
Light: At the beginning of the year, Lisa Marie is born.
939
00:45:22,830 --> 00:45:25,000
And then a couple of months later,
940
00:45:25,000 --> 00:45:27,000
Martin Luther King is assassinated.
941
00:45:27,000 --> 00:45:28,620
Woman: ♪ Take a load off, Fanny ♪
942
00:45:28,620 --> 00:45:30,620
Schilling: We were making a movie at MGM
943
00:45:30,620 --> 00:45:34,250
when we heard on the radio about Martin Luther King.
944
00:45:35,540 --> 00:45:39,040
King was that hope to bring us all together,
945
00:45:39,040 --> 00:45:40,870
and Elvis knew that.
946
00:45:42,450 --> 00:45:45,750
Elvis looked down and he said,
947
00:45:45,750 --> 00:45:48,370
"He always told the truth."
948
00:45:48,370 --> 00:45:50,450
Woman: ♪ It's just old Luke ♪
949
00:45:50,450 --> 00:45:52,700
♪ And Luke's waiting on Judgment Day ♪
950
00:45:52,700 --> 00:45:55,750
Light: There's this contentious presidential election going on.
951
00:45:55,750 --> 00:45:58,410
Bobby Kennedy is assassinated.
952
00:45:58,410 --> 00:46:01,870
There's chaos at the Democratic convention in Chicago.
953
00:46:01,870 --> 00:46:04,200
Woman: ♪ Baby now, won't you stay ♪
954
00:46:04,200 --> 00:46:06,580
Priscilla: Things were just in disarray,
955
00:46:06,580 --> 00:46:08,870
and it was never the same after that.
956
00:46:10,160 --> 00:46:13,700
♪ ♪
957
00:46:19,450 --> 00:46:21,040
Nik Cohn: By '68,
958
00:46:21,040 --> 00:46:24,330
most Elvis fans had, more or less, given up the ghost.
959
00:46:24,330 --> 00:46:26,080
There'd been so many poor movies,
960
00:46:26,080 --> 00:46:28,750
so many throwaway singles.
961
00:46:28,750 --> 00:46:30,620
Jackson: Elvis starts to think about,
962
00:46:30,620 --> 00:46:32,580
"Okay, so how can I play live again?
963
00:46:32,580 --> 00:46:35,910
There's no infrastructure for me to do that."
964
00:46:35,910 --> 00:46:39,450
Landau: A couple of really bright guys who got Elvis
965
00:46:39,450 --> 00:46:43,080
talked their way into making a TV special.
966
00:46:43,080 --> 00:46:46,000
Sua missão era lembrar a todos
967
00:46:46,000 --> 00:46:48,040
apenas quem era Elvis,
968
00:46:48,040 --> 00:46:50,580
e quem ele ainda era--
969
00:46:50,580 --> 00:46:54,200
em certo sentido, para apagar os últimos sete anos
970
00:46:54,200 --> 00:46:56,910
das trilhas sonoras do filme.
971
00:46:56,910 --> 00:47:00,620
Light: Quando a oportunidade para o especial de TV é apresentada,
972
00:47:00,620 --> 00:47:04,290
ele não se apresentou para uma audiência por anos.
973
00:47:04,290 --> 00:47:07,200
Priscilla: Ele estava realmente pensando o que ele faria
974
00:47:07,200 --> 00:47:09,450
se tudo desse errado.
975
00:47:09,450 --> 00:47:12,370
Essa foi a carreira dele. Esta foi a sua vida.
976
00:47:12,370 --> 00:47:15,620
Este foi o momento de perceber que é isso,
977
00:47:15,620 --> 00:47:18,290
que isso vai ser um fracasso completo
978
00:47:18,290 --> 00:47:20,330
ou vai mudar tudo.
979
00:47:21,410 --> 00:47:22,950
Springsteen: Bem, eu lembro que esperei
980
00:47:22,950 --> 00:47:25,120
por semanas para o '68 especial
981
00:47:25,120 --> 00:47:26,330
porque eu sabia que estava chegando.
982
00:47:26,330 --> 00:47:28,500
Eu posso lembrar exatamente onde a nossa TV
983
00:47:28,500 --> 00:47:30,540
foi criado na sala de jantar,
984
00:47:30,540 --> 00:47:32,580
the exact place I was sitting.
985
00:47:32,580 --> 00:47:33,790
I mean, it's one of those things
986
00:47:33,790 --> 00:47:36,410
that's imprinted on my memory forever.
987
00:47:36,410 --> 00:47:39,830
But you weren't sure if he had the ability to focus
988
00:47:39,830 --> 00:47:41,870
and gather it all together one more time
989
00:47:41,870 --> 00:47:44,000
to create musical explosiveness.
990
00:47:45,500 --> 00:47:48,160
Host: Uh, welcome to NBC,
991
00:47:48,160 --> 00:47:50,830
and the Elvis Presley Special.
992
00:47:50,830 --> 00:47:53,160
(cheers, applause)
993
00:47:53,160 --> 00:47:55,500
You can do better than that. I'm gonna say it all over again.
994
00:47:55,500 --> 00:47:57,790
Now, I wanna really hear something.
995
00:47:57,790 --> 00:48:00,580
Schilling: When I went with him to NBC,
996
00:48:00,580 --> 00:48:02,080
he was very quiet.
997
00:48:02,080 --> 00:48:05,620
He didn't know how people were gonna feel about it.
998
00:48:05,620 --> 00:48:08,040
Priscilla: He was extremely nervous that night.
999
00:48:08,040 --> 00:48:09,540
It's all new again,
1000
00:48:09,540 --> 00:48:14,200
and I'd never seen Elvis perform live before.
1001
00:48:14,200 --> 00:48:16,160
I didn't really know what to expect.
1002
00:48:16,160 --> 00:48:19,290
Binder: We didn't know where it was gonna go, period.
1003
00:48:22,540 --> 00:48:25,540
Just before it began, on the first taping,
1004
00:48:25,540 --> 00:48:28,290
Elvis called me into the makeup room.
1005
00:48:28,290 --> 00:48:33,330
He was sitting there and he asked everybody in the room to leave,
1006
00:48:33,330 --> 00:48:36,040
so he could just be with me one on one.
1007
00:48:36,040 --> 00:48:38,580
I said, "What's-- what's the problem?"
1008
00:48:38,580 --> 00:48:40,200
"Problem is I changed my mind.
1009
00:48:40,200 --> 00:48:42,750
I don't wanna do this."
1010
00:48:42,750 --> 00:48:45,700
Man: May we strike the coil and cable off the platform, please?
1011
00:48:45,700 --> 00:48:47,950
Priscilla: We weren't seeing, sitting in the audience,
1012
00:48:47,950 --> 00:48:49,580
what was going on.
1013
00:48:49,580 --> 00:48:52,000
I'd stayed away from the dressing room.
1014
00:48:52,000 --> 00:48:54,450
He didn't want anyone around.
1015
00:48:54,450 --> 00:48:57,120
I was sitting there going, "Oh my gosh," you know.
1016
00:48:57,120 --> 00:48:59,370
"Is he gonna be able to pull this off?"
1017
00:48:59,370 --> 00:49:01,370
Binder: I said, "What are you talking about?"
1018
00:49:01,370 --> 00:49:06,080
And he said, "I don't remember anything I sang in the dressing room.
1019
00:49:06,080 --> 00:49:09,540
"I don't remember any stories that I told.
1020
00:49:09,540 --> 00:49:11,500
"My mind is a blank, Steve.
1021
00:49:11,500 --> 00:49:15,540
Let's just call it off. It's not gonna happen."
1022
00:49:15,540 --> 00:49:19,160
Binder: I said, "Elvis, I've never asked you to do anything
1023
00:49:19,160 --> 00:49:21,200
that you don't wanna do..."
1024
00:49:21,200 --> 00:49:23,410
Host: Mr. Elvis Presley. (crowd cheering)
1025
00:49:23,410 --> 00:49:25,790
Binder: "...but you've got to go out there."
1026
00:49:25,790 --> 00:49:27,750
♪ ♪
1027
00:49:41,540 --> 00:49:43,410
Thank you very much.
1028
00:49:46,290 --> 00:49:50,250
Schilling: I don't know how this happened,
1029
00:49:50,250 --> 00:49:52,080
but I saw him relax.
1030
00:49:52,080 --> 00:49:54,000
Elvis: They want me to sit on the floor!
1031
00:49:54,000 --> 00:49:55,950
(women cheer)
1032
00:49:55,950 --> 00:49:59,660
(playing guitar)
1033
00:50:03,290 --> 00:50:04,950
♪ ♪
1034
00:50:04,950 --> 00:50:06,870
(band joins in)
1035
00:50:06,870 --> 00:50:08,950
Man: ♪ It's all right ♪
1036
00:50:10,950 --> 00:50:12,620
♪ It's all right ♪
1037
00:50:15,160 --> 00:50:16,410
♪ It's all right ♪
1038
00:50:16,410 --> 00:50:18,450
♪ Yeah, man ♪ ♪ It's all right ♪
1039
00:50:19,330 --> 00:50:20,790
♪ It's all right ♪
1040
00:50:20,790 --> 00:50:22,830
♪ It's all right ♪
1041
00:50:22,830 --> 00:50:24,830
(Elvis growls) ♪ It's all right ♪
1042
00:50:24,830 --> 00:50:25,870
Oh, yeah!
1043
00:50:25,870 --> 00:50:27,450
♪ ♪
1044
00:50:28,870 --> 00:50:31,290
Binder: Eu não tinha conhecimento ou compreensão
1045
00:50:31,290 --> 00:50:35,540
sobre como incrivelmente talentoso ele realmente era até aquele show.
1046
00:50:35,540 --> 00:50:37,830
♪ ♪
1047
00:50:39,950 --> 00:50:43,330
Zanes: Ele está tendo uma experiência no momento.
1048
00:50:43,330 --> 00:50:46,540
Durante os anos ele estava fazendo filmes de Hollywood,
1049
00:50:46,540 --> 00:50:49,250
você nunca chegou a vê-lo no momento.
1050
00:50:49,250 --> 00:50:50,330
(gritando)
1051
00:50:52,830 --> 00:50:54,500
Sim baby!
1052
00:50:57,620 --> 00:50:59,830
♪ ♪
1053
00:51:08,620 --> 00:51:11,540
(falando indistintamente)
1054
00:51:14,080 --> 00:51:18,040
♪ Estamos subindo, descendo ♪
1055
00:51:18,040 --> 00:51:22,330
♪ Estamos subindo, descendo, subindo do jeito que você quiser ♪
1056
00:51:22,330 --> 00:51:24,410
♪ Vamos rolar ♪
1057
00:51:24,410 --> 00:51:27,160
♪ Sim, sim, sim ♪
1058
00:51:29,700 --> 00:51:32,160
♪ Você me faz o que você me quer ♪
1059
00:51:32,160 --> 00:51:34,500
♪ Oh baby, o que você quer que eu faça? ♪
1060
00:51:36,200 --> 00:51:39,160
Schilling: A interação com Scotty e DJ
1061
00:51:39,160 --> 00:51:43,200
Quem está tocando bateria na parte de trás de um violão.
1062
00:51:43,200 --> 00:51:46,000
DJ Fontana: Parecia que estávamos em casa novamente.
1063
00:51:47,620 --> 00:51:51,080
♪ ♪
1064
00:51:51,080 --> 00:51:52,660
Yeah!
1065
00:51:52,660 --> 00:51:53,950
♪ All right ♪
1066
00:51:53,950 --> 00:51:57,040
Hep, hep, hep, hep, hep, hep!
1067
00:51:59,000 --> 00:52:01,000
Boones Howe: Those are guys who grew up together,
1068
00:52:01,000 --> 00:52:03,750
and they suddenly have a moment
1069
00:52:03,750 --> 00:52:06,250
of reflection.
1070
00:52:06,250 --> 00:52:09,450
The past, their early days.
1071
00:52:09,450 --> 00:52:12,750
♪ Down, any way you wanna let it roll ♪
1072
00:52:12,750 --> 00:52:16,040
Cohn: He was rediscovering the sheer animal joy
1073
00:52:16,040 --> 00:52:20,250
of making music, and realizing, for the first time in years,
1074
00:52:20,250 --> 00:52:21,950
just how good he was.
1075
00:52:21,950 --> 00:52:25,580
♪ Baby, what do you want me to do? ♪
1076
00:52:27,330 --> 00:52:29,750
♪ You got me doing what you want me ♪
1077
00:52:29,750 --> 00:52:32,910
♪ Oh baby, what do you want me to do? ♪
1078
00:52:35,290 --> 00:52:37,790
(applause) Man: All right! You got it!
1079
00:52:37,790 --> 00:52:41,500
Landau: That show was 1,000% Elvis.
1080
00:52:41,500 --> 00:52:47,160
His fingerprint was on the first frame to the last frame.
1081
00:52:47,160 --> 00:52:49,000
He was a man on a mission.
1082
00:52:50,290 --> 00:52:52,580
Priscilla: And that night when it premiered on TV,
1083
00:52:52,580 --> 00:52:54,040
we were all silent.
1084
00:52:54,040 --> 00:52:55,870
We just sat there and watched the show
1085
00:52:55,870 --> 00:52:57,540
and never said a word.
1086
00:52:57,540 --> 00:53:01,040
And then, of course, the telephone calls were coming in, and reviews.
1087
00:53:01,040 --> 00:53:04,330
And, oh my gosh, it was such a relief.
1088
00:53:07,500 --> 00:53:10,290
It was so great to see him smile again.
1089
00:53:11,580 --> 00:53:14,870
♪ ♪
1090
00:53:16,450 --> 00:53:18,000
Elvis: ♪ We're caught in a trap ♪
1091
00:53:18,000 --> 00:53:19,700
Schilling: After the comeback special,
1092
00:53:19,700 --> 00:53:22,200
Elvis didn't have to look too far
1093
00:53:22,200 --> 00:53:24,910
to find his way back to the source.
1094
00:53:24,910 --> 00:53:28,540
Elvis: ♪ Because I love you too much, baby ♪
1095
00:53:28,540 --> 00:53:29,750
Springsteen: It was the old story.
1096
00:53:29,750 --> 00:53:31,160
You could take the boy out of Memphis.
1097
00:53:31,160 --> 00:53:32,620
You really couldn't take Memphis
1098
00:53:32,620 --> 00:53:34,540
out of the boy, you know?
1099
00:53:34,540 --> 00:53:36,200
The roots that you come from
1100
00:53:36,200 --> 00:53:38,250
are always compelling to return to
1101
00:53:38,250 --> 00:53:40,410
no matter how far away you get.
1102
00:53:40,410 --> 00:53:43,290
Schilling: By that point, he only had a couple of movies left.
1103
00:53:43,290 --> 00:53:45,750
And so when he went back to the studio,
1104
00:53:45,750 --> 00:53:49,080
he wanted to do things differently.
1105
00:53:49,080 --> 00:53:51,620
Preston Lauterbach: Elvis returned home to restart
1106
00:53:51,620 --> 00:53:54,790
his career as a recording artist,
1107
00:53:54,790 --> 00:53:56,500
with local musicians,
1108
00:53:56,500 --> 00:54:01,370
with a local producer in a little humble storefront, north Memphis,
1109
00:54:01,370 --> 00:54:04,950
that's where Elvis returned to essentially save his career.
1110
00:54:04,950 --> 00:54:07,870
♪ ♪
1111
00:54:07,870 --> 00:54:11,700
Porter: Chips Moman, his job was writer and producer.
1112
00:54:11,700 --> 00:54:14,620
Lauterbach: He had evolved from Stax Records
1113
00:54:14,620 --> 00:54:18,080
as a producer primarily associated with soul
1114
00:54:18,080 --> 00:54:19,700
and with black artists.
1115
00:54:19,700 --> 00:54:22,500
But Chips was one of these trans-racial kinda figures.
1116
00:54:22,500 --> 00:54:26,540
He thought in terms of style, in terms of sound.
1117
00:54:26,540 --> 00:54:29,200
And he really did embody Memphis music.
1118
00:54:29,200 --> 00:54:30,750
Elvis: ♪ Asking where I've been ♪
1119
00:54:30,750 --> 00:54:33,330
Priscilla: It was the greatest sessions, the greatest.
1120
00:54:33,330 --> 00:54:36,290
My gosh, I mean, he came alive again.
1121
00:54:36,290 --> 00:54:37,660
He was liberated.
1122
00:54:37,660 --> 00:54:40,790
It was, uh, a beautiful marriage. (chuckles)
1123
00:54:40,790 --> 00:54:45,250
Elvis: ♪ We can't go on together ♪
1124
00:54:45,250 --> 00:54:47,620
♪ With suspicious minds ♪
1125
00:54:49,580 --> 00:54:51,410
♪ And we can't build our dreams ♪
1126
00:54:51,410 --> 00:54:54,620
Schilling: He told Elvis, "I have a stack of records here
1127
00:54:54,620 --> 00:54:55,950
"I think are hits,
1128
00:54:55,950 --> 00:54:57,660
"and you don't have any publishing.
1129
00:54:57,660 --> 00:54:59,080
What do you wanna do?"
1130
00:54:59,080 --> 00:55:01,580
Elvis: ♪ Oh, let our love survive ♪
1131
00:55:01,580 --> 00:55:04,620
Schilling: Elvis said, "Chips, I need hit records."
1132
00:55:04,620 --> 00:55:09,200
Elvis: ♪ I'll dry the tears from your eyes ♪
1133
00:55:09,200 --> 00:55:12,620
♪ Let's don't let a good thing die ♪
1134
00:55:12,620 --> 00:55:15,750
Petty: He decides he's gonna sing contemporary material.
1135
00:55:15,750 --> 00:55:18,330
Publishing be damned. He's gonna do what he wants.
1136
00:55:18,330 --> 00:55:20,370
Elvis: ♪ Lied to you ♪
1137
00:55:20,370 --> 00:55:22,410
♪ Ooh ♪
1138
00:55:24,000 --> 00:55:26,790
♪ Yes, yes ♪
1139
00:55:28,290 --> 00:55:31,120
♪ We're caught in a trap ♪
1140
00:55:31,120 --> 00:55:34,700
West: The songs, every one of 'em, was a hit.
1141
00:55:34,700 --> 00:55:38,120
That's the biggest sales Elvis had had ever.
1142
00:55:38,120 --> 00:55:41,750
Elvis: ♪ Love you too much baby ♪
1143
00:55:41,750 --> 00:55:43,870
Schilling: You would think that would've been
1144
00:55:43,870 --> 00:55:46,870
the next recording session.
1145
00:55:46,870 --> 00:55:49,000
Never recorded with Chips again.
1146
00:55:49,000 --> 00:55:51,250
Elvis: ♪ I can't walk out ♪
1147
00:55:51,250 --> 00:55:53,330
(match strikes, flares)
1148
00:55:56,410 --> 00:55:58,830
♪ ♪
1149
00:56:17,000 --> 00:56:19,830
Ronnie Tutt: August '69, he got a chance to play live
1150
00:56:19,830 --> 00:56:21,500
at the International Hotel.
1151
00:56:21,500 --> 00:56:24,750
Schilling: Vegas was a huge event for him.
1152
00:56:24,750 --> 00:56:29,500
Back in the '50s, he wasn't accepted too much then in Vegas.
1153
00:56:29,500 --> 00:56:31,700
Howe: Vegas, it's not about teenyboppers.
1154
00:56:31,700 --> 00:56:34,000
It's aimed at a particular audience--
1155
00:56:34,000 --> 00:56:36,000
people interested in a show that's there,
1156
00:56:36,000 --> 00:56:38,040
so that they'll stop in the casino,
1157
00:56:38,040 --> 00:56:40,870
on the way in or out, and drop some money.
1158
00:56:46,500 --> 00:56:49,370
Petty: Their burning thing to go to Las Vegas
1159
00:56:49,370 --> 00:56:51,120
and play long stands, you know,
1160
00:56:51,120 --> 00:56:56,000
that doesn't happen till they've virtually run aground in the film business.
1161
00:56:57,200 --> 00:56:59,250
There isn't a single studio
1162
00:56:59,250 --> 00:57:02,040
that will throw down any significant money
1163
00:57:02,040 --> 00:57:03,700
for Elvis in a movie.
1164
00:57:03,700 --> 00:57:06,790
So, they look around go, "Well, what we gonna do now?"
1165
00:57:06,790 --> 00:57:10,700
Elvis is going on stage, you know. Thank God.
1166
00:57:18,200 --> 00:57:22,000
And "You Don't Have to Say You Love Me, and, uh... (indistinct)
1167
00:57:22,000 --> 00:57:25,950
Schilling: I was able to witness him put a band together.
1168
00:57:27,000 --> 00:57:28,790
When he goes out to Vegas,
1169
00:57:28,790 --> 00:57:30,790
he's really making decisions
1170
00:57:30,790 --> 00:57:33,540
that are a little more for Elvis
1171
00:57:33,540 --> 00:57:36,080
than what came before.
1172
00:57:36,080 --> 00:57:38,290
Zanes: He's wanting to play with the band.
1173
00:57:38,290 --> 00:57:41,080
He's wanting to go through a deep catalog,
1174
00:57:41,080 --> 00:57:44,580
you know, big parts of which remind him or his own youth.
1175
00:57:44,580 --> 00:57:47,750
♪ Well, you may go to college ♪
1176
00:57:47,750 --> 00:57:50,000
♪ May go to school ♪
1177
00:57:50,000 --> 00:57:52,200
♪ You may get religion, baby ♪
1178
00:57:52,200 --> 00:57:54,290
♪ Don't you be nobody's fool ♪
1179
00:57:54,290 --> 00:57:56,410
♪ Now baby, come back, baby ♪
1180
00:57:56,410 --> 00:57:58,540
Tutt: I personally went to him and said, "Elvis,
1181
00:57:58,540 --> 00:58:00,700
"I wanted to know if you wanted me
1182
00:58:00,700 --> 00:58:03,290
"to try to duplicate classic songs.
1183
00:58:03,290 --> 00:58:04,950
What was done previously."
1184
00:58:04,950 --> 00:58:06,290
He said, "Absolutely not.
1185
00:58:06,290 --> 00:58:08,290
Just do what you do, that's why you're here."
1186
00:58:08,290 --> 00:58:10,700
I thought it was good that he would try different songs
1187
00:58:10,700 --> 00:58:12,540
that he liked the sound of.
1188
00:58:12,540 --> 00:58:14,040
Glen D. was the arranger,
1189
00:58:14,040 --> 00:58:16,370
and he would write these great arrangements for him,
1190
00:58:16,370 --> 00:58:18,370
and they would-- they would be exciting.
1191
00:58:18,370 --> 00:58:21,160
Elvis: ♪ Come back, baby, come ♪
1192
00:58:21,160 --> 00:58:25,000
♪ Come back, baby, I wanna play house with you ♪
1193
00:58:25,000 --> 00:58:26,950
Elvis: Then it goes into this one.
1194
00:58:26,950 --> 00:58:28,200
I wanna try something.
1195
00:58:28,200 --> 00:58:29,790
And since, this is last verse...
1196
00:58:29,790 --> 00:58:34,910
Schilling: I think the vocals were just as important to Elvis.
1197
00:58:34,910 --> 00:58:37,370
Okay. The horns are answering it then.
1198
00:58:37,370 --> 00:58:40,830
Schilling: He had to have The Sweet Inspirations.
1199
00:58:40,830 --> 00:58:44,620
They had been working with Wilson Pickett and Aretha Franklin.
1200
00:58:44,620 --> 00:58:48,660
♪ Talk in everlasting words ♪ ♪ Talk, words ♪
1201
00:58:48,660 --> 00:58:51,830
♪ And dedicate them all to me ♪
1202
00:58:51,830 --> 00:58:54,750
♪ Dedicate them all to me ♪
1203
00:58:54,750 --> 00:58:57,040
Cissy Houston: Elvis did whatever he wanted to do.
1204
00:58:57,040 --> 00:59:00,000
If he was feeling it, we had to feel it too.
1205
00:59:00,000 --> 00:59:01,700
And we could connect,
1206
00:59:01,700 --> 00:59:03,330
because we were from gospel.
1207
00:59:03,330 --> 00:59:04,660
We were raised gospel.
1208
00:59:04,660 --> 00:59:08,790
♪ You think that I don't even mean ♪
1209
00:59:08,790 --> 00:59:12,660
♪ A single word I say ♪
1210
00:59:13,580 --> 00:59:16,620
♪ It's only words ♪
1211
00:59:16,620 --> 00:59:19,500
♪ And words are all I have ♪
1212
00:59:19,500 --> 00:59:21,330
♪ To steal your heart away ♪
1213
00:59:22,830 --> 00:59:25,870
Schilling: Colonel Parker, he had billboards all over.
1214
00:59:25,870 --> 00:59:27,540
There was a vibe.
1215
00:59:27,540 --> 00:59:31,540
Everybody knew that Elvis was there.
1216
00:59:31,540 --> 00:59:34,040
He was a nervous wreck.
1217
00:59:34,040 --> 00:59:37,870
It's one thing to have a small invited audience.
1218
00:59:37,870 --> 00:59:41,540
Now he's going on the biggest stage in the world.
1219
00:59:41,540 --> 00:59:43,330
It's Las Vegas.
1220
00:59:44,660 --> 00:59:46,160
This is the nitty-gritty time
1221
00:59:46,160 --> 00:59:48,950
as far as being nervous, you know.
1222
00:59:48,950 --> 00:59:50,160
Opening night, man.
1223
00:59:51,450 --> 00:59:54,160
West: He was excited, and also nervous.
1224
00:59:54,160 --> 00:59:56,790
He didn't know exactly how he was gonna be received,
1225
00:59:56,790 --> 00:59:59,160
and he wanted the best of everything.
1226
00:59:59,160 --> 01:00:02,370
Tutt: There were all these big goals as far as attendance,
1227
01:00:02,370 --> 01:00:04,910
and he had a very competitive nature.
1228
01:00:04,910 --> 01:00:07,620
So he wanted to be able to be as powerful
1229
01:00:07,620 --> 01:00:10,250
and popular as Sinatra, Tom Jones.
1230
01:00:10,250 --> 01:00:12,750
He wanted to take his music to a whole different level.
1231
01:00:15,120 --> 01:00:17,750
(drums roll, play rock beat)
1232
01:00:24,250 --> 01:00:26,450
(band joins in)
1233
01:00:26,450 --> 01:00:28,450
Priscilla: The first time I ever saw him on stage,
1234
01:00:28,450 --> 01:00:32,160
was the first time he played in Vegas in '69.
1235
01:00:32,160 --> 01:00:35,540
The '68 special, it was more of a controlled environment.
1236
01:00:35,540 --> 01:00:37,250
It was for television.
1237
01:00:37,250 --> 01:00:40,750
But in Vegas, to actually see him walk out there
1238
01:00:40,750 --> 01:00:43,250
and own that stage,
1239
01:00:43,250 --> 01:00:46,500
it was like, "Oh my gosh, I get it.
1240
01:00:46,500 --> 01:00:48,410
I get it!"
1241
01:00:48,410 --> 01:00:50,620
♪ Well, that's all right, mama ♪
1242
01:00:50,620 --> 01:00:52,450
♪ That's all right with you ♪
1243
01:00:52,450 --> 01:00:53,950
♪ Tudo bem, mamãe ♪
1244
01:00:53,950 --> 01:00:55,500
♪ Do it any way you do ♪
1245
01:00:55,500 --> 01:00:57,000
♪ That's all right ♪
♪ That's all right ♪
1246
01:00:57,000 --> 01:00:58,660
♪ Yeah, that's all right ♪
♪ That's all right ♪
1247
01:00:58,660 --> 01:01:01,500
♪ That's all right, mama ♪
♪ That's all right ♪
1248
01:01:01,500 --> 01:01:03,830
♪ Any way you do ♪
1249
01:01:05,870 --> 01:01:07,950
♪ Well, Mama,
she done told me ♪
1250
01:01:07,950 --> 01:01:09,620
♪ Papa done told me too ♪
1251
01:01:09,620 --> 01:01:11,290
♪ Son, that gal
you foolin' with ♪
1252
01:01:11,290 --> 01:01:12,750
♪ She ain't no good for you ♪
1253
01:01:12,750 --> 01:01:14,330
♪ Well, that's all right ♪
♪ That's all right ♪
1254
01:01:14,330 --> 01:01:16,200
♪ Yeah, that's all right now ♪
♪ That's all right ♪
1255
01:01:16,200 --> 01:01:18,620
♪ That's all right
now, mama ♪
1256
01:01:18,620 --> 01:01:20,330
♪ Any way you do ♪
1257
01:01:20,330 --> 01:01:22,250
Play it.
1258
01:01:22,250 --> 01:01:24,290
♪ ♪
1259
01:01:28,540 --> 01:01:30,580
Priscilla:
I remember looking around.
1260
01:01:30,580 --> 01:01:32,370
They're all applauding.
1261
01:01:32,370 --> 01:01:34,160
So drawn into him.
1262
01:01:34,160 --> 01:01:37,160
I'd never seen anyone control
an audience that way.
1263
01:01:37,160 --> 01:01:40,000
It was like he rehearsed
that show all his life.
1264
01:01:40,000 --> 01:01:42,660
(Elvis scatting)
1265
01:01:47,080 --> 01:01:48,830
♪ That's all right ♪
♪ That's all right ♪
1266
01:01:48,830 --> 01:01:50,500
♪ Yeah, that's all right ♪
♪ That's all right ♪
1267
01:01:50,500 --> 01:01:53,160
♪ That's all right
now, mama ♪
1268
01:01:53,160 --> 01:01:56,000
♪ Any way you do ♪
1269
01:01:57,330 --> 01:02:00,000
♪ Well, that's
all right now, mama ♪
1270
01:02:00,000 --> 01:02:02,040
♪ Any way you do ♪
1271
01:02:04,250 --> 01:02:06,370
(song ending)
(cheers and applause)
1272
01:02:09,660 --> 01:02:13,370
♪ ♪
1273
01:02:13,370 --> 01:02:18,080
Woman:
♪ There's a place
on Lonely Street ♪
1274
01:02:18,080 --> 01:02:21,540
♪ They call it
Heartbreak Hotel ♪
1275
01:02:21,540 --> 01:02:25,200
♪ Where brokenhearted
lovers go ♪
1276
01:02:25,200 --> 01:02:28,120
Schilling:
It was great, staying up
all night, being in Vegas.
1277
01:02:28,120 --> 01:02:29,660
We never left the hotel.
1278
01:02:29,660 --> 01:02:31,330
But psychologically,
1279
01:02:31,330 --> 01:02:33,370
at a point,
it weighs on you,
1280
01:02:33,370 --> 01:02:35,080
and you may not
even know it.
1281
01:02:36,870 --> 01:02:39,200
Woman:
♪ Heartbreak Hotel,
where I'll be ♪
1282
01:02:39,200 --> 01:02:42,700
♪ I'll be so lonely ♪
1283
01:02:43,700 --> 01:02:47,500
♪ I'll be so lonely,
I could die ♪
1284
01:02:47,500 --> 01:02:49,410
♪ Although it's
always crowded ♪
1285
01:02:49,410 --> 01:02:51,580
♪ You still can find a room ♪
1286
01:02:51,580 --> 01:02:53,750
♪ For brokenhearted lovers ♪
1287
01:02:53,750 --> 01:02:57,750
Schilling:
Thirty days, 61 shows,
first engagement.
1288
01:02:57,750 --> 01:03:01,160
Six months later,
the second engagement.
1289
01:03:01,160 --> 01:03:03,160
The third engagement.
1290
01:03:03,160 --> 01:03:05,120
Woman:
♪ Die ♪
1291
01:03:05,120 --> 01:03:08,160
Schilling:
Playing that much
for weeks on time,
1292
01:03:08,160 --> 01:03:09,910
not seeing daylight.
1293
01:03:11,370 --> 01:03:13,910
Dave Marsh:
Locked up in a hotel room,
what is there to do?
1294
01:03:13,910 --> 01:03:16,080
Talking to the same
15 guys every day?
1295
01:03:16,080 --> 01:03:17,410
Bored out of your mind,
1296
01:03:17,410 --> 01:03:21,080
and it all kind of conspires
to make Elvis vulnerable
1297
01:03:21,080 --> 01:03:24,290
in ways that if he had
a more rational life,
1298
01:03:24,290 --> 01:03:25,870
he would not be vulnerable.
1299
01:03:25,870 --> 01:03:28,580
Woman:
♪ You got a tale to tell ♪
1300
01:03:28,580 --> 01:03:30,200
Bearde:
And that's when
the Colonel took over
1301
01:03:30,200 --> 01:03:32,250
and went back
into modus operandi.
1302
01:03:32,250 --> 01:03:35,750
Let's see as much money
as we can make out of Elvis
for as long as we can.
1303
01:03:36,910 --> 01:03:38,790
Tutt:
It worked great
in the beginning.
1304
01:03:38,790 --> 01:03:41,540
It just got to be
same old stuff.
1305
01:03:41,540 --> 01:03:44,040
Woman:
♪ Die ♪
1306
01:03:44,040 --> 01:03:46,870
Tutt:
He realized that fans
want to hear the hits--
1307
01:03:46,870 --> 01:03:50,200
kind of painted himself
into a corner, so to speak.
1308
01:03:50,200 --> 01:03:51,700
(cheers and applause)
1309
01:03:51,700 --> 01:03:52,950
Brown:
Back in those days,
1310
01:03:52,950 --> 01:03:54,790
there was a dinner show
and then a late show.
1311
01:03:54,790 --> 01:03:56,290
So all the tables up front,
1312
01:03:56,290 --> 01:03:58,120
they were serving dinner
and drinks and stuff.
1313
01:03:58,120 --> 01:04:00,330
And the only people that could
afford the up-front seats
1314
01:04:00,330 --> 01:04:02,950
were the high-rollers,
the older cats.
1315
01:04:02,950 --> 01:04:06,120
Elvis needed connection
with the audience.
1316
01:04:06,120 --> 01:04:09,950
And Vegas, it was a very
reserved, rich crowd
1317
01:04:09,950 --> 01:04:11,660
dressed up for the Elvis show.
1318
01:04:11,660 --> 01:04:14,160
It frustrated Elvis that
he couldn't quite seem
1319
01:04:14,160 --> 01:04:16,330
to get the mayhem going.
1320
01:04:16,330 --> 01:04:18,120
Priscilla:
He felt like really
what he needed
1321
01:04:18,120 --> 01:04:20,580
was to get outside
of Vegas and go out
1322
01:04:20,580 --> 01:04:22,700
and get connected
with people
1323
01:04:22,700 --> 01:04:27,000
though he hadn't been
on tour for over 13 years.
1324
01:04:27,000 --> 01:04:29,370
Man:
What, uh, what made you
decide to come to Texas?
1325
01:04:29,370 --> 01:04:32,000
Well, I think the most
important thing is the, uh,
1326
01:04:32,000 --> 01:04:36,000
the inspiration that I get
from a live audience.
I was missing that.
1327
01:04:36,000 --> 01:04:40,000
♪ Well, I never
been to Heaven ♪
1328
01:04:41,750 --> 01:04:45,330
♪ But I've been to Oklahoma ♪
1329
01:04:47,290 --> 01:04:50,500
♪ Well, they tell me
I was born there ♪
1330
01:04:52,910 --> 01:04:56,500
♪ But I really don't remember ♪
1331
01:04:59,500 --> 01:05:02,580
♪ In Oklahoma ♪
1332
01:05:02,580 --> 01:05:04,700
♪ Or Arizona ♪
1333
01:05:04,700 --> 01:05:07,950
♪ Yeah, what does it matter? ♪
1334
01:05:07,950 --> 01:05:10,200
♪ What does it matter? ♪
1335
01:05:10,200 --> 01:05:12,120
Landau:
Back in the 1970s,
1336
01:05:12,120 --> 01:05:14,410
I was working
for Rolling Stone.
1337
01:05:14,410 --> 01:05:18,660
They sent me to Boston
to review an Elvis concert.
1338
01:05:18,660 --> 01:05:20,870
"He stands there
in a black jumpsuit,
1339
01:05:20,870 --> 01:05:23,120
"gold spangles
and an orange cape.
1340
01:05:23,120 --> 01:05:24,540
"When he stretches
out his hands,
1341
01:05:24,540 --> 01:05:26,410
"the cape forms
a half-sun
1342
01:05:26,410 --> 01:05:27,870
"under his outstretched arms,
1343
01:05:27,870 --> 01:05:30,910
and he looks like the
true king of rock and roll.
1344
01:05:32,450 --> 01:05:35,200
"He parades in front
of 15,000 people,
1345
01:05:35,200 --> 01:05:37,700
"and waits for the applause
to wash over,
1346
01:05:38,910 --> 01:05:40,910
"and it comes as it always does
1347
01:05:40,910 --> 01:05:42,950
"and as he knows it will.
1348
01:05:44,250 --> 01:05:45,950
"Elvis Presley
has lived through
1349
01:05:45,950 --> 01:05:48,410
"the greatest superstar
trip of any performer,
1350
01:05:48,410 --> 01:05:51,580
"and he survived it
in his own kind of way.
1351
01:05:51,580 --> 01:05:56,580
"Elvis participates in a pure
one-to-one relationship
with his audience.
1352
01:05:58,000 --> 01:05:59,790
"When he steps on the stage,
1353
01:05:59,790 --> 01:06:02,370
"it is he and he alone
who is the subject
1354
01:06:02,370 --> 01:06:06,040
of the manic, ecstatic,
irrational adoration."
1355
01:06:06,040 --> 01:06:09,080
Elvis:
♪ I've never been to Heaven ♪
1356
01:06:09,080 --> 01:06:11,700
Landau:
"His brilliance is reflected
in his control."
1357
01:06:11,700 --> 01:06:13,580
♪ But I've been
to Oklahoma ♪
1358
01:06:13,580 --> 01:06:16,330
Landau:
"He never moves too far
in any one direction,
1359
01:06:16,330 --> 01:06:17,750
and never loses his grip."
1360
01:06:17,750 --> 01:06:20,370
♪ They tell me
I was born there ♪
1361
01:06:20,370 --> 01:06:22,040
♪ ♪
1362
01:06:22,040 --> 01:06:25,790
♪ But I really don't remember ♪
1363
01:06:29,120 --> 01:06:31,700
♪ In Oklahoma ♪
1364
01:06:31,700 --> 01:06:33,750
♪ Or Arizona ♪
1365
01:06:33,750 --> 01:06:35,620
Landau:
"To me, no matter
how frustrating
1366
01:06:35,620 --> 01:06:38,450
"the lapses in his career
have been,
1367
01:06:38,450 --> 01:06:40,660
he remains an artist..."
1368
01:06:40,660 --> 01:06:43,000
Elvis:
♪ In Oklahoma ♪
1369
01:06:43,000 --> 01:06:45,790
♪ Or Arizona ♪
1370
01:06:45,790 --> 01:06:49,700
Landau:
"...an American artist,
whom we should be proud
to claim as our own."
1371
01:06:49,700 --> 01:06:52,000
Elvis:
♪ Yeah, yeah ♪
1372
01:06:56,790 --> 01:06:58,200
(song ending)
1373
01:06:58,200 --> 01:07:01,620
Thank you.
(applause)
1374
01:07:01,620 --> 01:07:04,950
Brown:
Elvis, in concert, covered
all kinda genres, you know.
1375
01:07:04,950 --> 01:07:07,660
And he came out
and he would do
all those songs
1376
01:07:07,660 --> 01:07:10,040
from the '50s and '60s
that he broke with.
1377
01:07:10,040 --> 01:07:12,910
But during the show, there was
a lot of country standards.
1378
01:07:12,910 --> 01:07:14,910
He just did things
that he liked.
1379
01:07:14,910 --> 01:07:16,160
Man:
You have any
thoughts about
1380
01:07:16,160 --> 01:07:17,830
the rising interest
in country music?
1381
01:07:17,830 --> 01:07:19,830
I think it's fantastic.
1382
01:07:19,830 --> 01:07:22,950
You see, country music was
always a part of the influence
1383
01:07:22,950 --> 01:07:25,580
on my-- on my type
of music anyway.
1384
01:07:25,580 --> 01:07:28,330
It's a combination of, uh...
1385
01:07:28,330 --> 01:07:30,290
country music, and gospel,
1386
01:07:30,290 --> 01:07:31,830
and rhythm and blues
all combined.
1387
01:07:31,830 --> 01:07:33,370
Isso é o que realmente era.
1388
01:07:33,370 --> 01:07:35,620
Quando criança, fui influenciado por tudo isso.
1389
01:07:35,620 --> 01:07:39,040
Mas eu gosto do blues, e gosto da música gospel,
1390
01:07:39,040 --> 01:07:40,950
quartetos evangélicos e tudo isso.
1391
01:07:40,950 --> 01:07:43,500
Obrigado. Bom ensaio, até breve.
1392
01:07:43,500 --> 01:07:45,370
Springsteen: Se você olhar para a banda que ele montou
1393
01:07:45,370 --> 01:07:49,040
para os shows dos anos 70, havia um enorme contingente evangélico.
1394
01:07:49,040 --> 01:07:51,160
Essas seções do show eram tão poderosas.
1395
01:07:51,160 --> 01:07:54,120
Em linha reta fora da tradição gospel branco e preto.
1396
01:07:54,120 --> 01:07:57,450
Elvis: ♪ Aleluia ♪
1397
01:07:57,450 --> 01:08:01,290
Springsteen: Nos anos 70, Elvis passou para a "American Trilogy".
1398
01:08:01,290 --> 01:08:05,910
Seu show foi constituído por uma imagem enorme cross-cultural
1399
01:08:05,910 --> 01:08:09,330
da América e Americana.
1400
01:08:09,330 --> 01:08:12,040
(Vocalização Elvis)
1401
01:08:13,200 --> 01:08:15,120
Springsteen: Ele estava tentando abranger
1402
01:08:15,120 --> 01:08:17,450
uma imagem do país como um todo
1403
01:08:17,450 --> 01:08:19,410
que ele poderia ser um navio que poderia conter
1404
01:08:19,410 --> 01:08:21,620
a totalidade da experiência americana.
1405
01:08:21,620 --> 01:08:25,410
♪ Oh silêncio, bebezinho ♪
1406
01:08:25,410 --> 01:08:29,450
♪ Não chore ♪
1407
01:08:29,450 --> 01:08:31,540
Petty: Você sabe, essa versão de "Dixie"
1408
01:08:31,540 --> 01:08:34,040
e uh, o "Hino de Batalha da República"
1409
01:08:34,040 --> 01:08:35,700
é tão bonito!
1410
01:08:35,700 --> 01:08:39,450
Você sabe, a banda ele colocou juntos é tão over-the-top,
1411
01:08:39,450 --> 01:08:44,000
e apenas Elvis teria esse poder gastar um bocado,
1412
01:08:44,000 --> 01:08:47,290
e apenas loucura audaciosa.
1413
01:08:50,160 --> 01:08:54,450
Coros e orquestras, e uma seção rítmica grande,
1414
01:08:54,450 --> 01:08:58,080
talvez um outro grupo gospel ao lado.
1415
01:08:58,080 --> 01:09:00,370
Nada disso faz sentido até que de repente
1416
01:09:00,370 --> 01:09:02,250
ouvir algo assim,
1417
01:09:02,250 --> 01:09:05,410
e todos eles estão desempenhando um papel nisso,
1418
01:09:05,410 --> 01:09:08,410
e é música muito comovente.
1419
01:09:08,410 --> 01:09:11,750
(flauta tocando)
1420
01:09:14,410 --> 01:09:16,120
Quando você o vê fazer aquela música
1421
01:09:16,120 --> 01:09:19,120
naqueles pequenos pedaços de filme que eu vi dele,
1422
01:09:19,120 --> 01:09:22,660
essa é a pura alegria da música no homem.
1423
01:09:22,660 --> 01:09:25,950
Sabe, é quando vejo tudo parar.
1424
01:09:25,950 --> 01:09:31,250
(música crescendo)
1425
01:09:36,080 --> 01:09:37,950
♪ ♪
1426
01:09:44,160 --> 01:09:48,330
♪ Glória, glória ♪
1427
01:09:48,330 --> 01:09:53,910
♪ Aleluia ♪
1428
01:09:53,910 --> 01:09:57,330
♪ Sua verdade é ♪
1429
01:09:57,330 --> 01:10:00,000
♪ Marching ♪
1430
01:10:00,000 --> 01:10:04,830
♪ On ♪
1431
01:10:04,830 --> 01:10:08,160
♪ His truth is ♪
1432
01:10:08,160 --> 01:10:10,910
♪ Marching ♪
1433
01:10:10,910 --> 01:10:17,870
♪ On ♪
1434
01:10:20,330 --> 01:10:22,500
(wild cheering)
Elvis: Whoo!
1435
01:10:22,500 --> 01:10:24,120
Thank you, thank you.
1436
01:10:29,040 --> 01:10:31,160
Whew! Boy.
1437
01:10:31,160 --> 01:10:32,580
How was the sound
in that building?
1438
01:10:32,580 --> 01:10:35,500
Very good,
very good.
Here. Hold on.
1439
01:10:37,410 --> 01:10:41,000
Strickland:
That was his life.
He lived to sing and perform.
1440
01:10:41,000 --> 01:10:42,620
It's a hot time in Florida.
1441
01:10:42,620 --> 01:10:44,040
Man:
Boy, it is.
1442
01:10:44,040 --> 01:10:45,620
Springsteen:
An artist like Elvis is,
1443
01:10:45,620 --> 01:10:48,540
rather than pretending
when he goes on the stage,
1444
01:10:48,540 --> 01:10:51,040
he's actually pretending,
when he's home, to be normal.
1445
01:10:51,040 --> 01:10:52,910
And when he goes out
on stage at night,
1446
01:10:52,910 --> 01:10:55,540
it's who he actually is.
1447
01:10:55,540 --> 01:10:58,250
It's a very
difficult dichotomy.
1448
01:11:03,910 --> 01:11:07,200
Priscilla:
To see him become
even bigger than life,
1449
01:11:07,200 --> 01:11:09,200
he had so much so soon.
1450
01:11:13,080 --> 01:11:16,160
Harris:
He was snatched
from the ordinary life
1451
01:11:16,160 --> 01:11:18,580
of a-- of a young man
1452
01:11:18,580 --> 01:11:22,500
into a place that
no one else had ever been
1453
01:11:22,500 --> 01:11:24,540
in society or in our culture.
1454
01:11:37,750 --> 01:11:41,370
Zanes:
To have that success,
and to experience it,
1455
01:11:41,370 --> 01:11:45,410
he had to hand over
significant portions
of youth.
1456
01:11:45,410 --> 01:11:47,200
That was the trade.
1457
01:11:48,750 --> 01:11:54,410
He is unmoored from
the Earth experience.
1458
01:11:54,410 --> 01:11:56,250
Priscilla:
We were living
two different lives.
1459
01:11:56,250 --> 01:11:58,540
He was performing, and, uh,
1460
01:11:58,540 --> 01:12:00,370
and he was home
very, very little.
1461
01:12:00,370 --> 01:12:02,950
It was very difficult to
communicate at that time.
1462
01:12:02,950 --> 01:12:08,290
Uh, Elvis had a horrible
fear of not sleeping.
1463
01:12:08,290 --> 01:12:10,750
He would spend
many, many nights alone,
1464
01:12:10,750 --> 01:12:13,580
and he would think
and that would keep him up.
1465
01:12:13,580 --> 01:12:15,790
So he started
on sleeping pills,
1466
01:12:15,790 --> 01:12:18,080
and he thought that
he had it under control.
1467
01:12:20,410 --> 01:12:22,950
Everything that he ever had
was prescribed.
1468
01:12:25,790 --> 01:12:27,330
(indistinct chatter)
1469
01:12:27,330 --> 01:12:29,450
Man:
Are you satisfied
with the image
you've established?
1470
01:12:29,450 --> 01:12:33,040
Uh... well, the image is
one thing,
1471
01:12:33,040 --> 01:12:36,500
and a human being
is another, you know, so.
1472
01:12:36,500 --> 01:12:38,330
Man:
How close does the image
come to the man?
1473
01:12:38,330 --> 01:12:42,000
It's very hard
to live up to an image,
I'll put it that way.
1474
01:12:43,870 --> 01:12:45,830
Parker:
Come on, bring your
cameras over here.
1475
01:12:45,830 --> 01:12:48,200
Come on through here.
1476
01:12:48,200 --> 01:12:50,620
Elvis:
Soon as the Colonel gets
through talking, I'll tell you--
1477
01:12:50,620 --> 01:12:51,870
I'm-- I'm sorry.
1478
01:12:51,870 --> 01:12:53,540
Oh, yeah, I'd like
to do something.
1479
01:12:53,540 --> 01:12:55,950
Uh, there's so many places
that I haven't been yet.
1480
01:12:55,950 --> 01:12:57,080
I'd like to go to Europe.
1481
01:12:57,080 --> 01:12:59,160
I'd like to go to Japan
and all those places.
1482
01:12:59,160 --> 01:13:00,500
I-I've never been
out of this country
1483
01:13:00,500 --> 01:13:02,830
except in the service,
you know.
1484
01:13:02,830 --> 01:13:04,410
Light:
Elvis, from early on,
1485
01:13:04,410 --> 01:13:06,660
had expressed interest
in touring overseas
1486
01:13:06,660 --> 01:13:07,870
having no idea
1487
01:13:07,870 --> 01:13:10,120
that Colonel Parker
was never going to let him.
1488
01:13:10,120 --> 01:13:12,500
Because if the Colonel
went with him,
1489
01:13:12,500 --> 01:13:15,330
he was afraid
he was not gonna be
let back into America.
1490
01:13:17,120 --> 01:13:20,830
Schilling:
Colonel knowing that Elvis
wanted to tour overseas,
1491
01:13:20,830 --> 01:13:23,330
colonel not wanting
anybody to know
1492
01:13:23,330 --> 01:13:25,950
that he wasn't a US citizen,
1493
01:13:25,950 --> 01:13:28,120
how could he answer Elvis
1494
01:13:28,120 --> 01:13:33,200
but come up with something
that nobody had ever done.
1495
01:13:34,870 --> 01:13:36,700
Jackson:
Instead of shutting
down the idea
1496
01:13:36,700 --> 01:13:38,500
of Elvis playing
in different countries
1497
01:13:38,500 --> 01:13:40,540
and just sort of
curtailing it for now,
1498
01:13:40,540 --> 01:13:42,620
he actually uses it
to his advantage,
1499
01:13:42,620 --> 01:13:46,580
and creates the first-ever
live concert simulcast
1500
01:13:46,580 --> 01:13:48,200
on satellite television,
1501
01:13:48,200 --> 01:13:51,160
so that people
in every country
all over the world
1502
01:13:51,160 --> 01:13:53,950
can see Elvis
play a concert.
1503
01:13:53,950 --> 01:13:55,910
Light:
By the time
of the Aloha special,
1504
01:13:55,910 --> 01:13:58,160
Elvis had been
touring non-stop.
1505
01:13:58,160 --> 01:14:00,450
His health wasn't great,
his weight wasn't great,
1506
01:14:00,450 --> 01:14:03,700
and now he was confronted
with this performance
1507
01:14:03,700 --> 01:14:07,580
that was gonna be seen
by a billion people
around the world.
1508
01:14:07,580 --> 01:14:09,750
Whew!
1509
01:14:09,750 --> 01:14:13,040
It's so very hard
to comprehend it,
1510
01:14:13,040 --> 01:14:15,080
because I...
1511
01:14:15,080 --> 01:14:17,870
In 15 years, it's hard
to comprehend that happening.
1512
01:14:17,870 --> 01:14:20,790
To all the countries all over
the world via satellite,
1513
01:14:20,790 --> 01:14:22,790
it's very difficult
to comprehend.
1514
01:14:22,790 --> 01:14:25,540
Jackson:
It becomes the
biggest media moment
1515
01:14:25,540 --> 01:14:28,080
of his career
up to that point.
1516
01:14:28,080 --> 01:14:30,660
And he knows this.
He's trimmed down for it.
1517
01:14:30,660 --> 01:14:31,790
He looks amazing.
1518
01:14:31,790 --> 01:14:34,040
The band is super tight.
1519
01:14:34,040 --> 01:14:36,750
Light:
Aloha does represent
Elvis music,
1520
01:14:36,750 --> 01:14:41,250
the moment that
Elvis brought together
all of his influences
1521
01:14:41,250 --> 01:14:44,410
to solidify an image of Elvis,
1522
01:14:44,410 --> 01:14:47,120
a look and a style
and a presentation
1523
01:14:47,120 --> 01:14:50,330
that seals in amber,
this is what Elvis is.
1524
01:14:52,540 --> 01:14:56,200
Zanes:
Elvis was the first major
1525
01:14:56,200 --> 01:14:59,410
televisual musical star.
1526
01:14:59,410 --> 01:15:02,450
We can see him,
but we can't touch him.
1527
01:15:07,410 --> 01:15:10,870
Elvis, without intending to,
1528
01:15:10,870 --> 01:15:14,080
created an image of himself
1529
01:15:14,080 --> 01:15:17,120
he would never live past.
1530
01:15:22,910 --> 01:15:25,750
♪ Yeah, now this time ♪
1531
01:15:25,750 --> 01:15:28,660
♪ Lord, you gave me ♪
1532
01:15:28,660 --> 01:15:31,790
♪ A mountain ♪
1533
01:15:33,700 --> 01:15:35,790
♪ A mountain ♪
1534
01:15:35,790 --> 01:15:39,870
♪ I may never climb ♪
1535
01:15:43,410 --> 01:15:44,830
♪ It isn't ♪
1536
01:15:44,830 --> 01:15:46,330
Landau:
That show was another way
1537
01:15:46,330 --> 01:15:50,160
in which he was truly
disserved by the Colonel.
1538
01:15:53,040 --> 01:15:57,040
It's a bit of a metaphor
for keeping the blinders on,
1539
01:15:57,040 --> 01:16:01,450
which is what I think
the Colonel is all about.
1540
01:16:01,450 --> 01:16:03,410
Petty:
My picture of the
Colonel really is
1541
01:16:03,410 --> 01:16:05,660
someone that loves
selling merchandise,
1542
01:16:05,660 --> 01:16:07,660
you know, that
wants it to the end,
1543
01:16:07,660 --> 01:16:12,000
walk the aisle selling
posters and ballpoint pens.
1544
01:16:12,000 --> 01:16:13,910
It doesn't make
any sense really
1545
01:16:13,910 --> 01:16:16,410
to keep him from
touring other countries,
1546
01:16:16,410 --> 01:16:19,870
to keep him from
really going to, you know,
1547
01:16:19,870 --> 01:16:21,700
the whole way with the music,
1548
01:16:21,700 --> 01:16:24,370
like, letting him
be an artist.
1549
01:16:24,370 --> 01:16:26,370
(crowd cheering)
1550
01:16:26,370 --> 01:16:29,330
Elvis:
Thank you!
1551
01:16:29,330 --> 01:16:33,580
Schilling:
I think the troubles between
Elvis and the Colonel
1552
01:16:33,580 --> 01:16:36,330
started getting
worse at that point.
1553
01:16:36,330 --> 01:16:38,200
There was the bond,
1554
01:16:38,200 --> 01:16:42,450
but they were
two very different people.
1555
01:16:42,450 --> 01:16:45,250
Priscilla:
Elvis outgrew Colonel Parker
as an artist,
1556
01:16:45,250 --> 01:16:49,000
but he, um, didn't know
how to cut the strings.
1557
01:16:51,700 --> 01:16:55,000
Light:
By this time, he had started
to turn to prescription drugs
1558
01:16:55,000 --> 01:16:56,580
to keep himself going.
1559
01:16:56,580 --> 01:16:59,660
He was on a
relentless wheel
1560
01:16:59,660 --> 01:17:03,080
of performance to travel
to performance to travel,
1561
01:17:03,080 --> 01:17:05,410
and you start to see
the stress of that.
1562
01:17:09,660 --> 01:17:12,250
Binder:
All the things he told me
that he wanted to do--
1563
01:17:12,250 --> 01:17:15,080
travel the world,
meet new audiences--
1564
01:17:15,080 --> 01:17:16,910
none of that happened.
1565
01:17:19,330 --> 01:17:22,250
All the light went
out of his eyes.
1566
01:17:24,250 --> 01:17:27,750
Zanes:
With an addiction
to prescription pills,
1567
01:17:27,750 --> 01:17:29,910
if you are a performer,
1568
01:17:29,910 --> 01:17:33,790
what you're after is the
anesthetizing part of it.
1569
01:17:33,790 --> 01:17:35,910
But that's gonna
take you away
1570
01:17:35,910 --> 01:17:38,330
from your powers
as a performer,
1571
01:17:38,330 --> 01:17:42,500
and he's gonna go
on stage nonetheless.
1572
01:17:49,790 --> 01:17:52,450
Landau:
He had many afflictions,
1573
01:17:52,450 --> 01:17:55,160
and he hurt himself
in many ways.
1574
01:17:55,160 --> 01:17:57,950
But there was a core in there,
1575
01:17:57,950 --> 01:18:00,870
that, if you let it,
would shine through,
1576
01:18:00,870 --> 01:18:04,580
and sometimes in the
most unlikely places.
1577
01:18:04,580 --> 01:18:06,910
♪ ♪
1578
01:18:09,620 --> 01:18:11,200
♪ Lord Almighty ♪
1579
01:18:11,200 --> 01:18:14,500
♪ I feel my
temperature rising ♪
1580
01:18:14,500 --> 01:18:15,660
♪ Hmm ♪
1581
01:18:15,660 --> 01:18:18,120
Tutt:
We has basically tried
to influence him
1582
01:18:18,120 --> 01:18:19,660
to do more rock and roll.
1583
01:18:19,660 --> 01:18:22,120
"Burning Love," that one
had some potential.
1584
01:18:22,120 --> 01:18:23,750
He never felt
comfortable with it,
1585
01:18:23,750 --> 01:18:26,620
because he had a hard time
with the lyrics.
1586
01:18:26,620 --> 01:18:28,620
Priscilla:
He was going through
a lot at that time,
1587
01:18:28,620 --> 01:18:30,160
so he didn't want
to do the song,
1588
01:18:30,160 --> 01:18:33,200
and the guys kept expressing
that he should do it,
1589
01:18:33,200 --> 01:18:35,540
and he was really
fighting it.
1590
01:18:35,540 --> 01:18:37,000
Landau:
"Burning Love,"
1591
01:18:37,000 --> 01:18:39,160
well, it's one of the
greatest records
he ever made.
1592
01:18:39,160 --> 01:18:42,750
♪ Like the sweet song
of the choir ♪
1593
01:18:42,750 --> 01:18:45,580
♪ And you light my morning sky ♪
1594
01:18:45,580 --> 01:18:47,500
♪ With burning love ♪
1595
01:18:48,910 --> 01:18:50,620
♪ With burning love ♪
1596
01:18:50,620 --> 01:18:52,700
Chorus:
♪ Hunk of burning love ♪
1597
01:18:52,700 --> 01:18:55,160
Elvis:
♪ Just a hunk of
hunk of burning love ♪
1598
01:18:55,160 --> 01:18:58,580
Chorus: Ahhh!
♪ A hunk of
hunk of burning love ♪
1599
01:18:58,580 --> 01:19:00,540
Chorus: Ahhh!
♪ A hunk of hunk of-- ♪
1600
01:19:00,540 --> 01:19:03,040
(music stops)
1601
01:19:03,040 --> 01:19:05,290
Priscilla:
It was a hard song
for him to sing
1602
01:19:05,290 --> 01:19:07,040
and to get into.
1603
01:19:07,040 --> 01:19:09,620
About them lyrics...
(laughter)
1604
01:19:09,620 --> 01:19:12,040
It was only one,
and I hit my mouth.
1605
01:19:12,040 --> 01:19:13,910
Priscilla:
He wanted to
let out his feelings
1606
01:19:13,910 --> 01:19:17,370
in a-- in a song that
related to how he felt.
1607
01:19:17,370 --> 01:19:19,330
It was difficult
to be given music
1608
01:19:19,330 --> 01:19:22,370
for something that's
really uplifting, upbeat,
1609
01:19:22,370 --> 01:19:24,040
and that's not
matching his tone,
1610
01:19:24,040 --> 01:19:25,700
that's not matching
his feelings.
1611
01:19:26,750 --> 01:19:29,500
♪ ♪
1612
01:19:32,750 --> 01:19:35,370
♪ I see a change ♪
1613
01:19:35,370 --> 01:19:38,450
♪ Is coming to our lives ♪
1614
01:19:38,450 --> 01:19:43,910
♪ It's not the same
as it used to be ♪
1615
01:19:43,910 --> 01:19:46,410
♪ And it's not too late ♪
1616
01:19:46,410 --> 01:19:48,950
♪ To realize our mistake ♪
1617
01:19:48,950 --> 01:19:50,790
♪ We're just not right ♪
1618
01:19:50,790 --> 01:19:55,450
♪ For each other ♪
1619
01:19:56,830 --> 01:19:59,700
♪ Love has slipped away ♪
1620
01:19:59,700 --> 01:20:02,200
♪ Left us only friends ♪
1621
01:20:02,200 --> 01:20:07,290
♪ We almost seem
like strangers ♪
1622
01:20:07,290 --> 01:20:09,620
♪ All that's left between us ♪
1623
01:20:09,620 --> 01:20:12,540
♪ Are the memories we share ♪
1624
01:20:12,540 --> 01:20:15,080
♪ Of times
we thought we cared ♪
1625
01:20:15,080 --> 01:20:20,410
♪ For each other ♪
1626
01:20:20,410 --> 01:20:23,410
Priscilla:
Elvis was very
family oriented.
1627
01:20:23,410 --> 01:20:25,580
He did cherish family,
1628
01:20:25,580 --> 01:20:27,620
but Elvis wanted it all.
(laughs)
1629
01:20:27,620 --> 01:20:30,790
♪ Pieces left behind us ♪
1630
01:20:30,790 --> 01:20:33,120
Priscilla:
It takes two
in a relationship.
1631
01:20:33,120 --> 01:20:37,160
Having a child, not being
able to do the traveling.
1632
01:20:37,160 --> 01:20:40,120
I was a mother.
1633
01:20:40,120 --> 01:20:42,620
He always used to say,
"You can't serve two masters."
1634
01:20:44,910 --> 01:20:47,660
♪ ♪
1635
01:20:47,660 --> 01:20:49,660
(chorus vocalizing)
1636
01:20:49,660 --> 01:20:51,870
♪ Someday when she's older ♪
1637
01:20:51,870 --> 01:20:55,120
♪ Maybe she will understand ♪
1638
01:20:55,120 --> 01:21:00,330
♪ Why her mom and dad
are not together ♪
1639
01:21:00,330 --> 01:21:03,160
♪ The tears that
she will cry ♪
1640
01:21:03,160 --> 01:21:05,500
♪ When I have to say goodbye ♪
1641
01:21:05,500 --> 01:21:07,660
♪ They tear at my heart ♪
1642
01:21:07,660 --> 01:21:12,160
♪ Forever ♪
1643
01:21:13,450 --> 01:21:15,540
♪ There's nothing left to do ♪
1644
01:21:15,540 --> 01:21:18,830
♪ But go our separate ways ♪
1645
01:21:18,830 --> 01:21:21,500
Schilling:
After he recorded
"Separate Ways,"
1646
01:21:21,500 --> 01:21:23,450
he wanted to go
into the control room
1647
01:21:23,450 --> 01:21:27,450
and listen to that song
for hours.
1648
01:21:27,450 --> 01:21:30,200
And he would just look up
and shake his head,
1649
01:21:30,200 --> 01:21:33,660
'cause I know he still
always loved Priscilla.
1650
01:21:35,120 --> 01:21:36,830
Priscilla:
Elvis and I,
1651
01:21:36,830 --> 01:21:38,660
você sabe, nos demos as mãos no tribunal.
1652
01:21:38,660 --> 01:21:41,000
Ainda havia muito amor por lá.
1653
01:21:41,000 --> 01:21:42,910
Ele era um pai amoroso.
1654
01:21:42,910 --> 01:21:45,330
Mantivemos esse relacionamento muito próximo.
1655
01:21:45,330 --> 01:21:47,330
Eu sei que ele sempre esteve lá por mim
1656
01:21:47,330 --> 01:21:48,790
e para Lisa também,
1657
01:21:48,790 --> 01:21:50,870
mas o rompimento do casamento
1658
01:21:50,870 --> 01:21:52,700
Foi doloroso para nós dois.
1659
01:21:52,700 --> 01:21:55,410
(vocalizando)
1660
01:21:58,830 --> 01:22:01,700
Gordon Stoker: Ele nunca mais foi o mesmo depois disso.
1661
01:22:01,700 --> 01:22:03,700
Ele acabou de mudar. Ele estava muito mal-humorado.
1662
01:22:03,700 --> 01:22:05,830
Ele não estava bem fazendo dois shows por noite.
1663
01:22:05,830 --> 01:22:08,250
E ele teve que levar as cabeças para ele ir
1664
01:22:08,250 --> 01:22:09,910
e downers para colocá-lo para dormir.
1665
01:22:11,660 --> 01:22:14,040
Parker: Bem, eu não sei, mas sei de uma coisa.
1666
01:22:14,040 --> 01:22:15,830
Quando eu disse um Elvis a desacelerar,
1667
01:22:15,830 --> 01:22:17,790
"Eu quero jogar mais datas."
1668
01:22:17,790 --> 01:22:19,040
Para reservar mais datas.
1669
01:22:19,040 --> 01:22:21,040
"Eu não acho que você deveria
1670
01:22:21,040 --> 01:22:23,080
e ele: "Bem, é o que eu quero fazer."
1671
01:22:23,080 --> 01:22:25,330
Ele foi muito infeliz, depois começou tudo de novo.
1672
01:22:25,330 --> 01:22:28,750
Locutor: Com cerca de 25 retratos coloridos disponíveis ...
1673
01:22:28,750 --> 01:22:31,580
Homem: Souvenirs!
1674
01:22:31,580 --> 01:22:33,700
Ei! Levar para casa um pouco de Elvis!
1675
01:22:33,700 --> 01:22:35,290
Elvis super lembranças!
1676
01:22:35,290 --> 01:22:38,750
Cohn: Eu acho que a noite quente, tornou-se mais difícil para ele
1677
01:22:38,750 --> 01:22:41,200
para continuar sendo Elvis.
1678
01:22:41,200 --> 01:22:43,750
Drogas e auto-destruição
1679
01:22:43,750 --> 01:22:46,250
eram todas as punições.
1680
01:22:46,250 --> 01:22:49,290
Ele was com muita dor, e ainda assim, ele deu tanto prazer.
1681
01:22:49,290 --> 01:22:52,290
Ele iria para o palco e entrar em colapso,
1682
01:22:52,290 --> 01:22:55,910
o direito iria sair balizadas e alegre,
1683
01:22:55,910 --> 01:22:57,580
espiritualmente abençoada.
1684
01:23:01,410 --> 01:23:04,870
Priscilla: Elvis estava sempre à procura de respostas.
1685
01:23:04,870 --> 01:23:06,450
Por que ele?
1686
01:23:06,450 --> 01:23:09,500
"Bem, talvez Deus tenha planejado outra coisa para mim.
1687
01:23:09,500 --> 01:23:11,950
Eu deveria estar dando uma mensagem? "
1688
01:23:13,540 --> 01:23:15,250
Não percebendo que ele estava fazendo
1689
01:23:15,250 --> 01:23:17,330
o que ele deveria estar fazendo.
1690
01:23:20,790 --> 01:23:23,870
Petty: Os últimos dias de sua vida não foram seu melhor trabalho.
1691
01:23:23,870 --> 01:23:25,910
Ele teve muitos problemas.
1692
01:23:27,910 --> 01:23:29,040
Ele ganhou peso
1693
01:23:29,040 --> 01:23:32,540
que é um pecado capital no show business.
1694
01:23:32,540 --> 01:23:34,040
Isolation, you know,
1695
01:23:34,040 --> 01:23:36,540
that-- that brings on
the drug abuse.
1696
01:23:36,540 --> 01:23:39,040
He's lost touch
with his father.
1697
01:23:39,040 --> 01:23:41,370
His mom's gone.
1698
01:23:41,370 --> 01:23:43,910
His wife is gone.
1699
01:23:43,910 --> 01:23:47,290
It had to be very lonely,
we know that.
1700
01:23:53,160 --> 01:23:55,870
There's a point when--
when you have success,
1701
01:23:55,870 --> 01:23:57,500
and you get really wealthy
1702
01:23:57,500 --> 01:24:00,330
and there is that day
where the letter comes
1703
01:24:00,330 --> 01:24:03,160
that none of this is
gonna make me happy.
1704
01:24:08,700 --> 01:24:12,910
And he knew he had
to try to find some--
something, you know,
1705
01:24:12,910 --> 01:24:15,330
but I think he gave up.
1706
01:24:15,330 --> 01:24:19,330
I think he felt out-gunned
and gave up.
1707
01:24:29,040 --> 01:24:30,290
Priscilla:
Those last shows,
1708
01:24:30,290 --> 01:24:31,910
aqueles mostra os últimos dois anos
1709
01:24:31,910 --> 01:24:35,080
não eram o mais memorável, tanto quanto o desempenho.
1710
01:24:35,080 --> 01:24:37,870
Às vezes ele não passar por um-- uma canção.
1711
01:24:37,870 --> 01:24:42,120
Eu acho que o ano passado, ele foi muito bem sobre ele.
1712
01:24:42,120 --> 01:24:45,120
Eu nem sei por que, você sabe, ele subiu ao palco.
1713
01:24:45,120 --> 01:24:47,040
Eles são apenas difícil de assistir.
1714
01:24:47,040 --> 01:24:48,660
Às vezes, eu acho que foi melhor, talvez,
1715
01:24:48,660 --> 01:24:50,500
se eles apenas cancelaram o show.
1716
01:24:57,790 --> 01:25:01,540
Brown: Recebemos a ligação que Elvis queria gravar em Memphis.
1717
01:25:01,540 --> 01:25:03,200
Strickland: Sempre que recebemos a ligação,
1718
01:25:03,200 --> 01:25:05,410
nós estaríamos lá à sua disposição e ligamos
1719
01:25:05,410 --> 01:25:07,290
sempre que eles estivessem prontos.
1720
01:25:07,290 --> 01:25:08,700
Brown: Na minha cabeça, nós vamos, tipo,
1721
01:25:08,700 --> 01:25:12,120
Sun Records ou algum outro lugar ali, o estúdio de Chips Moman.
1722
01:25:12,120 --> 01:25:13,540
Mas nós entramos em Graceland,
1723
01:25:13,540 --> 01:25:15,120
e eu digo: "Bem, o que estamos fazendo aqui?"
1724
01:25:15,120 --> 01:25:16,830
Eles disseram: "Estamos cortando aqui".
1725
01:25:16,830 --> 01:25:18,250
Strickland: Ele não iria ao estúdio.
1726
01:25:18,250 --> 01:25:21,080
O estúdio teve que vir a ele, bem no quarto da selva lá.
1727
01:25:29,750 --> 01:25:32,370
Man: É difícil levá-lo a entrar em um ambiente de estúdio,
1728
01:25:32,370 --> 01:25:34,000
porque ele estava desconfortável lá.
1729
01:25:34,000 --> 01:25:35,500
Man 2: Não quero ir para Nashville,
1730
01:25:35,500 --> 01:25:36,620
não quero ir para a Stax,
1731
01:25:36,620 --> 01:25:37,910
não queria ir para Chips Moman do.
1732
01:25:37,910 --> 01:25:40,080
Ele queria ficar em casa.
1733
01:25:40,080 --> 01:25:41,620
Strickland: Nós viríamos de Nashville,
1734
01:25:41,620 --> 01:25:44,410
Check-in em um hotel que foi logo à direita da rua.
1735
01:25:46,790 --> 01:25:49,000
Homem: E então, todos nós estaríamos prontos para ir,
1736
01:25:49,000 --> 01:25:50,910
e eles diziam: "Elvis ainda não está acordado".
1737
01:25:50,910 --> 01:25:52,410
Strickland: Ele poderia descer à meia-noite
1738
01:25:52,410 --> 01:25:54,830
ou pode ser duas horas da manhã.
1739
01:25:54,830 --> 01:25:57,580
Você nunca soube o que a noite iria aguentar.
1740
01:25:59,290 --> 01:26:01,580
Springsteen: Elvis acabou de volta no Jungle Room,
1741
01:26:01,580 --> 01:26:04,330
gravando seu último disco.
1742
01:26:04,330 --> 01:26:06,870
Graceland pode ser algo que é--
1743
01:26:06,870 --> 01:26:09,450
que te dá uma sensação de ... lugar,
1744
01:26:09,450 --> 01:26:11,370
e de-- do centro.
1745
01:26:11,370 --> 01:26:14,250
Uh, mas também pode ser um lugar where--
1746
01:26:14,250 --> 01:26:15,950
que você acabou de desaparecer.
1747
01:26:15,950 --> 01:26:19,080
Pareceu-me que Elvis foi apanhado no meio
1748
01:26:19,080 --> 01:26:20,910
fazendo um pouco de ambos lá.
1749
01:26:25,450 --> 01:26:28,080
Petty: Parece ser, ele está escolhendo canções
1750
01:26:28,080 --> 01:26:31,700
que pouco refletem seu estado de espírito.
1751
01:26:31,700 --> 01:26:36,160
Como "Hurt", que é um dos as-- os muito últimos.
1752
01:26:36,160 --> 01:26:38,660
Eu acho que ele está se sentindo muito magoado.
1753
01:26:38,660 --> 01:26:41,160
Ele está muito mal. Ele está muito sozinho.
1754
01:26:41,160 --> 01:26:43,950
Ele não entende o que aconteceu com a música
1755
01:26:43,950 --> 01:26:46,410
e ele ficou de fora disso.
1756
01:26:46,410 --> 01:26:48,830
Ele se tornou uma coisa.
1757
01:26:48,830 --> 01:26:51,540
Ele não era mais Elvis Presley.
1758
01:26:51,540 --> 01:26:53,200
Ele era "Elvis".
1759
01:27:02,330 --> 01:27:05,000
Norbert Putnam: Bem, quando cheguei ao Jungle Room,
1760
01:27:05,000 --> 01:27:06,580
eles removeram todos os móveis.
1761
01:27:06,580 --> 01:27:08,540
Eles cobriram as paredes em cobertores.
1762
01:27:08,540 --> 01:27:10,000
Strickland: Houve um semi,
1763
01:27:10,000 --> 01:27:13,040
como um trator muito grande, atrás da casa.
1764
01:27:13,040 --> 01:27:15,950
Foi constituída de uma ficha completa da RCA.
1765
01:27:15,950 --> 01:27:18,120
Eles iriam executar todas as suas linhas de recording
1766
01:27:18,120 --> 01:27:19,450
no quarto da selva.
1767
01:27:19,450 --> 01:27:21,250
Brown: Parece que você não está Tahiti ou algo assim.
1768
01:27:21,250 --> 01:27:22,750
Parecia que você estava nas ilhas.
1769
01:27:22,750 --> 01:27:25,830
Mas todos nós estamos apenas nos apartamentos em espaço minúsculo pouco.
1770
01:27:25,830 --> 01:27:28,040
Tutt: Foi um pesadelo para os engenheiros de gravação
1771
01:27:28,040 --> 01:27:30,700
para o meu amor, sem muito sangramento
1772
01:27:30,700 --> 01:27:32,040
com microfones abertos,
1773
01:27:32,040 --> 01:27:35,540
The analytics are not podíamos.
1774
01:27:35,540 --> 01:27:38,370
Strickland: Não foi como nós fizemos um monte de ensaio
1775
01:27:38,370 --> 01:27:39,540
para as gravações.
1776
01:27:39,540 --> 01:27:41,750
Foi "Ligar a máquina, e ele vai cantar."
1777
01:27:41,750 --> 01:27:44,540
Nós todos nos assistimos a um tempo real.
1778
01:27:44,540 --> 01:27:46,500
E você sabe, II lembro de uma das primeiras músicas
1779
01:27:46,500 --> 01:27:48,750
que eu gravei com ele, uh, foi "Hurt".
1780
01:27:48,750 --> 01:27:51,000
Nós não temos uma ideia menor de como ele descer
1781
01:27:51,000 --> 01:27:53,080
Como ele poderia conseguir-lo.
1782
01:27:53,080 --> 01:27:55,750
De repente, ele toma a sua posição.
1783
01:27:55,750 --> 01:27:58,410
♪ ♪
1784
01:27:58,410 --> 01:28:01,410
Elvis: ♪
1785
01:28:01,410 --> 01:28:07,700
♪ ♪ Então Ferido
1786
01:28:08,750 --> 01:28:13,450
♪ E pensar que você mentiu para mim ♪
1787
01:28:16,500 --> 01:28:21,290
♪ Estou magoado ♪
1788
01:28:21,290 --> 01:28:27,120
♪ lá no fundo dentro de mim ♪
1789
01:28:30,200 --> 01:28:32,540
♪ Você disse ♪
1790
01:28:32,540 --> 01:28:36,200
♪ O nosso amor é verdadeiro
1791
01:28:36,200 --> 01:28:39,370
♪ E nós nunca ♪
1792
01:28:39,370 --> 01:28:42,290
♪ Nunca parte ♪
1793
01:28:44,790 --> 01:28:48,950
♪ Você quer alguém novo ♪
1794
01:28:48,950 --> 01:28:52,450
E isso parte meu coração
1795
01:28:52,450 --> 01:28:59,410
♪ Oh, eu estou ferido ♪
1796
01:29:02,830 --> 01:29:05,160
♪ ♪ Muito mais
1797
01:29:05,160 --> 01:29:07,250
♪ que que quantas vezes jamais ♪
1798
01:29:10,080 --> 01:29:12,120
♪ Sim, querido ♪
1799
01:29:12,120 --> 01:29:14,000
♪ Eu estou tão magoado ♪
1800
01:29:15,870 --> 01:29:18,160
Porque ♪ ♪
1801
01:29:18,160 --> 01:29:20,120
♪ eu ainda te amo tanto ♪
1802
01:29:21,580 --> 01:29:23,200
♪ Mas você sabe ♪
1803
01:29:23,200 --> 01:29:28,000
♪ Mesmo que você me machucar ♪
1804
01:29:28,000 --> 01:29:31,450
♪ Como ninguém mais ♪
1805
01:29:31,450 --> 01:29:34,370
♪ jamais poderá fazer ♪
1806
01:29:34,370 --> 01:29:38,620
♪ Eu nunca ♪
1807
01:29:38,620 --> 01:29:45,580
♪ ♪ ferir
1808
01:29:45,580 --> 01:29:47,790
♪ ♪
1809
01:29:47,790 --> 01:29:56,660
♪ Sim, você ♪
1810
01:29:59,620 --> 01:30:01,500
(Música termina)
1811
01:30:04,540 --> 01:30:07,040
♪ ♪
1812
01:30:35,660 --> 01:30:37,870
♪ ♪
1813
01:30:55,790 --> 01:31:00,910
Bearde: Elvis queria terminar o '68 Especial sobre uma grande nota.
1814
01:31:04,120 --> 01:31:07,500
Francamente, não sabia como terminar o show.
1815
01:31:07,500 --> 01:31:09,540
Ligante: Todos os dias às quatro horas,
1816
01:31:09,540 --> 01:31:13,830
nós todos sentamos na sala de piano, de nossos escritórios,
1817
01:31:13,830 --> 01:31:16,910
ensaiando com Elvis.
1818
01:31:16,910 --> 01:31:21,410
Bearde: Você recebeu sentados no escritório de Steve com Elvis,
1819
01:31:21,410 --> 01:31:25,000
uma televisão no preto e branco no canto.
1820
01:31:25,000 --> 01:31:28,040
(Tagarelar indistinto) Por que a TV ...
1821
01:31:28,040 --> 01:31:30,910
Robert Kennedy foi assassinado.
1822
01:31:30,910 --> 01:31:33,950
(Gritos indistinto)
1823
01:31:37,540 --> 01:31:39,370
Elvis pegou uma guitarra,
1824
01:31:39,370 --> 01:31:41,540
e ele começou a tocar.
1825
01:31:41,540 --> 01:31:43,950
Falando em uma milha um minuto.
1826
01:31:43,950 --> 01:31:48,000
Você quer que você seja
1827
01:31:48,000 --> 01:31:49,450
"Porque este é um momento sem tempo
1828
01:31:49,450 --> 01:31:51,660
onde todos os nós têm que entender uns aos outros. "
1829
01:31:51,660 --> 01:31:54,080
♪ ♪
1830
01:31:54,080 --> 01:31:58,830
♪ Deve ter luzes acesas brilhantes ♪
1831
01:31:58,830 --> 01:32:01,700
♪ ♪ Em algum lugar
1832
01:32:01,700 --> 01:32:05,750
♪ Tem que voar mais alto ♪
1833
01:32:05,750 --> 01:32:09,000
♪ Em um céu mais azul ♪
1834
01:32:09,000 --> 01:32:13,450
♪ Se eu posso sonhar com uma terra melhor ♪
1835
01:32:13,450 --> 01:32:17,080
♪ Onde todos os meus braços e andar de mãos dadas ♪
1836
01:32:17,080 --> 01:32:18,790
♪ Diga-me por ♪
1837
01:32:18,790 --> 01:32:20,660
♪ Oh, por ♪
1838
01:32:20,660 --> 01:32:27,290
♪ Oh, por que não pode meu sonho ♪
1839
01:32:28,330 --> 01:32:31,370
♪ Oh, por ♪
1840
01:32:31,370 --> 01:32:36,120
♪ Deve haver paz e compreensão ♪
1841
01:32:36,120 --> 01:32:38,660
♪ ♪ em algum momento
1842
01:32:38,660 --> 01:32:41,370
♪ ventos fortes de promessa ♪
1843
01:32:41,370 --> 01:32:45,160
♪ Isso vai soprar toda a dúvida ♪
1844
01:32:45,160 --> 01:32:46,700
♪ ♪ E o medo
1845
01:32:46,700 --> 01:32:51,120
♪ Se eu posso sonhar com um sol mais quente ♪
1846
01:32:51,120 --> 01:32:54,700
♪ Onde uma esperança continua a brilhar em todos ♪
1847
01:32:54,700 --> 01:32:56,750
♪ Diga-me por ♪
1848
01:32:56,750 --> 01:32:58,700
♪ Oh, por ♪
1849
01:32:58,700 --> 01:33:02,120
♪ Oh, por que não aquele sol ♪
1850
01:33:02,120 --> 01:33:06,410
♪ ♪ Aparecem
1851
01:33:11,200 --> 01:33:13,700
♪ Estamos perdidos em uma nuvem ♪
1852
01:33:14,950 --> 01:33:18,870
♪ Com muita chuva ♪
1853
01:33:18,870 --> 01:33:22,540
♪ Estamos presos em um mundo ♪
1854
01:33:22,540 --> 01:33:26,200
♪ Isso está incomodado com a dor ♪
1855
01:33:26,200 --> 01:33:32,750
♪ Mas enquanto um homem tem uma força para sonhar ♪
1856
01:33:32,750 --> 01:33:36,790
♪ Ele pode resgatar sua alma ♪
1857
01:33:36,790 --> 01:33:40,910
♪ ♪ E voar
1858
01:33:40,910 --> 01:33:44,120
Coro: ♪ Ele pode voar ♪
1859
01:33:44,120 --> 01:33:46,450
♪ No fundo do meu coração ♪
1860
01:33:46,450 --> 01:33:50,750
♪ Há uma pergunta tremor ♪
1861
01:33:51,750 --> 01:33:56,080
♪ Ainda tenho a certeza que uma resposta ♪
1862
01:33:56,080 --> 01:33:59,250
♪ vai de resposta venha de alguma forma ♪
1863
01:33:59,250 --> 01:34:03,120
♪ Lá fora no escuro ♪
1864
01:34:03,120 --> 01:34:05,910
♪ Há uma vela acenando ♪
1865
01:34:05,910 --> 01:34:09,450
♪ Ah sim, e enquanto eu posso pensar ♪
1866
01:34:09,450 --> 01:34:11,370
♪ Você eu posso falar ♪
1867
01:34:11,370 --> 01:34:13,290
♪ Você eu suporto ♪
1868
01:34:13,290 --> 01:34:15,160
♪ Enquanto eu posso andar ♪
1869
01:34:15,160 --> 01:34:18,830
♪ Assim eu posso sonhar ♪
1870
01:34:18,830 --> 01:34:22,910
♪ por favor, deixe minha ♪ sonho
1871
01:34:22,910 --> 01:34:25,250
♪ ♪ Realidade
1872
01:34:25,250 --> 01:34:27,120
♪ ♪ Oh
1873
01:34:30,000 --> 01:34:33,790
♪ Agora ♪
1874
01:34:33,790 --> 01:34:38,040
♪ Oh, deixe-me tornar realidade agora ♪
1875
01:34:38,040 --> 01:34:41,330
♪ sim ♪
1876
01:34:45,410 --> 01:34:47,290
(Música termina)
1877
01:35:21,160 --> 01:35:24,160
(Zumbido carretel de filme)
1878
01:35:36,250 --> 01:35:38,540
♪ ♪
1879
01:35:41,040 --> 01:35:43,040
Mesquinho: ♪ você não pode ver ♪
1880
01:35:43,040 --> 01:35:44,500
♪ ♪ Eu te amo
1881
01:35:44,500 --> 01:35:48,370
♪ Por favor, não quebre meu coração em dois ♪
1882
01:35:48,370 --> 01:35:50,540
Isso não é difícil de fazer
1883
01:35:50,540 --> 01:35:55,700
Porque eu não sou um coração de madeira
1884
01:35:56,830 --> 01:35:59,870
♪ E se você dizer adeus ♪
1885
01:35:59,870 --> 01:36:03,450
♪ Então eu sei que eu iria chorar ♪
1886
01:36:03,450 --> 01:36:05,870
♪ provavelmente eu vou morrer ♪
1887
01:36:05,870 --> 01:36:10,700
Porque eu não sou um coração de madeira
1888
01:36:12,040 --> 01:36:14,160
♪ Não há cordas ♪
1889
01:36:14,160 --> 01:36:18,250
♪ Quando isso é meu amor ♪
1890
01:36:18,250 --> 01:36:22,910
♪ Era sempre você desde o início ♪
1891
01:36:24,370 --> 01:36:25,950
♪ Trate-me agradável ♪
1892
01:36:25,950 --> 01:36:27,410
♪ Trate-me boa ♪
1893
01:36:27,410 --> 01:36:31,000
♪ Trate-me como você realmente realmente ♪
1894
01:36:31,000 --> 01:36:33,540
Porque eu sou feito de madeira
1895
01:36:33,540 --> 01:36:39,450
♪ E eu não tenho um coração de madeira ♪
1896
01:36:39,450 --> 01:36:45,080
♪ Não, eu não tenho um coração de madeira ♪
1897
01:36:51,370 --> 01:36:53,450
(Música termina)
146578
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