In July of 1954, people listening to the Dewey Phillips Memphis radio show heard a young local man named Elvis Presley singing “That’s All Right Mama” by Arthur Crudup. Listeners didn’t know if Elvis Presley was white or black. When interviewed, they made sure to ask Elvis what high school he attended, and that was the tip off. He was white. In two years, Elvis Presley would become a nationally famous singer. At 21, his life was half over.

That short life is now a film, “Elvis,” directed by Baz Luhrmann, known for his rapid-fire editing and splashy musical numbers. The reviews have been mixed, but all the critics agree Austin Butler gives an astounding performance as “the King.” Butler has the moves, the many Presley voices, and at times, the spirit of Elvis seems to possess him. Chayton Jay was also effective as the young Elvis. The film is told from the viewpoint of a dying Tom Parker, Elvis’s infamous manager played by Tom Hanks.

When Colonel Tom Parker, who wasn’t a colonel and was born Andreas Cornelis van Kuijk, first saw the new Memphis sensation, Parker also recognized his destiny. Known for playing so many likable characters, Tom Hanks in heavy make-up with a Dutch accent plays Colonel Parker as a repellent con artist. It is ironic that the greatest blessing and curse for both Elvis Presley and Tom Parker was the fact they found each other. If Tom Parker made and destroyed Elvis, he had his own addiction, gambling — and Elvis was his cash cow.

If an uneven film, there are some striking scenes in “Elvis.” Elvis Presley grew up on a white block in a segregated black neighborhood, and once attended a revivalist meeting to hear black singers and a black preacher. They laid their hands on the white boy and the Pentecostal spirit was passed. Ultimately, black music would inform Elvis Presley’s career.

It may be hard to understand the phenomenon of Elvis Presley unless you were there. After Frank Sinatra and Bing Crosby, here was a white male singer who sounded black and did songs by unknown African American songwriters. As a crossover artist, Elvis helped create national radio and television exposure for Chuck Berry, Little Richard and Jimmy Reed. The supporting black players are well cast in the film, particularly Alton Mason as Little Richard. Olivia DeJonge has brief touching moments as Priscilla Presley. Helen Thomson brings a level of wary anger and sadness to Gladys Presley, the doting alcoholic mother of Elvis.

One problem with bio-pics is that the story is well known, and the spectator can anticipate every plot turn. “Elvis” is no exception. Elvis will join the army and come back tamed. Elvis will become irrelevant with the new rockers like the Beatles, the Rolling Stones and Bob Dylan. Then Elvis will have a comeback in 1968 and prove he still has the moves and a voice no other rocker possesses. Inevitably, Elvis in a jumpsuit will become a drugged Halloween parody of himself. Despite the familiarity, the musical numbers in Elvis still provide enthralling entertainment as we approach the end — and the finale is powerful and poignant.

“Elvis” concludes with an archival clip of a very tired, winded Elvis from one of his last concerts in 1977 singing “Unchained Melody.” Despite years of prescription drugs and declining health, Elvis Presley never lost that versatile voice with its three-octave range. In the final scene, we see Austin Butler as an overweight Elvis, slightly out of breath, giving a somewhat rambling introduction, and then he sits at a piano littered with Coca-Cola cups. His backup singer holds a mic. Butler sings in the voice of the 42-year-old Elvis. Then the camera cuts smoothly to Elvis Presley, himself. When he begins pounding on the piano keys and wailing the song, hitting those operatic high notes, the effect is stunning. We see a man who is visibly failing, yet delivering a memorable performance. Death is in the wings.

It is risky for an actor-singer playing the role of a famous singer to have the real icon appear on screen, but Austin Butler singing with Elvis pulls it off. For this heartbreaking scene alone, “Elvis” is worth viewing. It is a true American epic about a very American tragedy.

It is disappointing to think of all the great songs Elvis didn’t sing or the dramatic films Elvis never attempted often due to Tom Parker’s money concerns, but there are enough songs that still inspire, like the American Trilogy medley. One thing remains: that unique Elvis Presley tenor-baritone that continues to astonish us.

Michael Corrigan graduated from San Francisco State with a Master of Arts degree in English and creative writing. He was active in theater and attended the American Film Institute. He retired from Idaho State University as an instructor of English and speech communications. He has written several books, including “Confessions of a Shanty Irishman,” “Mulligan” and “These Precious Hours.” NPR broadcast his play for two readers: “Letters from Rebecca.”