From an artistic perspective, Elvis Presley’s experience in the film industry was generally disappointing. Despite starring in 33 films, only a few truly showcased his talents.
His noteworthy performances in King Creole (1958), Flaming Star (1960), Viva Las Vegas (1964), and the underappreciated The Trouble With Girls (1969) revealed his potential, indicating he could have achieved more with better opportunities in Hollywood.
In 1969, Elvis, who disliked being typecast as a musical movie star, left the film industry and revived his career as a live entertainer.
However, Hollywood sought to capitalize on his success by creating a concert documentary that would capture the essence of Presley’s live performances.
Elvis Presley’s Best Film
The outcome was “Elvis: That’s the Way It Is” (1970), directed by Oscar-winning filmmaker Denis Sanders and filmed by experienced cinematographer Lucien Ballard.
Despite including unnecessary interviews, the MGM documentary effectively showcased Presley’s talent and charm, surpassing his previous film performances.
It highlighted Elvis as a spontaneous and creative artist who thrived in front of live audiences.
During his August 1970 shows at the International Hotel, Sanders captured a substantial amount of footage of Presley using six Panavision cameras.
The discovery of 60,000 feet of damaging camera footage and the original 16-track stereo masters in the Turner Entertainment vaults in the late 1990s revealed the extensive footage that was shot, exceeding what was initially shown in the finished documentary.
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Filmmaker Rick Schmidlin, known for his work on historical reconstructions of classic films, produced a remixed and recut version of the Presley documentary.
Seven years after its initial theatrical release, the updated “That’s the Way It Is” was finally released alongside the original 1970 documentary in a two-DVD set by Warner Home Video.
Experienced in producing concert films, Schmidlin aimed to create a more personal portrayal of Elvis in the re-edited version of “That’s the Way It Is.”
He strived to capture the true character and psyche of Elvis as a performer rather than how Hollywood wanted to depict him.
Compared to the original 1970 release, Schmidlin’s “special edition” focuses more on Presley and his music, removing interviews and hotel promotions.
Consequently, the revamped version runs for 97 minutes, 11 minutes shorter than the original, but includes a wealth of previously unseen material.
The 2000 version features restored rehearsal footage of Elvis, including engaging run-throughs of various songs and concert performances.
An exciting moment occurs during the end credits when Cary Grant meets Presley backstage after the opening-night show.
According to Schmidlin, re-editing and performing major surgery on a dated documentary posed unique challenges.
He viewed the original and the special editions as bookends, each telling its own story while being part of the same film.
Contrary to his fictional films, “That’s the Way It Is” captured Presley’s energy, humor, and creativity that seemed to elude Hollywood.
It showcased an artist at the pinnacle of his abilities, a fact not lost on Elvis himself, who knew that his performances were being recorded for future generations.
With his experience in over 30 features, he was adept at working with cinematographers and understood how to engage with the camera.
According to Schmidlin, Elvis took command whenever he was being filmed, approaching it enthusiastically and viewing it as an opportunity to showcase himself without a scripted performance.
Elvis’s natural ease in front of the camera allowed him to deliver remarkable performances on his terms.
The success of “That’s the Way It Is” prompted MGM to create “Elvis on Tour” (1972), which, despite winning a Golden Globe, portrayed an artist who was beginning to tire of the concert routine.
Consequently, it paled compared to the revitalized portrayal in the former documentary.
“That’s the Way It Is” captured Elvis at 35, in peak condition and thoroughly enjoying himself, leaving a lasting impression of his magnetic personality and leadership.
If Schmidlin had to rename the film, he would have called it “Elvis on His Own Terms.”
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