The missed movie opportunity that could have changed Elvis Presley’s life forever
Between his achievements across film and music, it’s hard to imagine Elvis Presley ever making a decision that could cost him his career.
That’s probably also the reason why his moniker as the King of Rock ‘n’ Roll eventually got shortened to something much simpler and representative: The King. A true master of all, only in film, his song-length charm was extended over feature-length stories that showcased everything everyone ever became endeared to in the first place.
Presley first appeared on-screen in 1956’s Love Me Tender. Across most titles, he wasn’t exactly the next James Dean, but he gave as good as he got, not just presenting a different side to the troubled star but popularising a new genre entirely: the musical movie. Using film as a cross-promotional tool for music wasn’t much more than an afterthought until Presley came along. Nor was the idea that a musician could even make waves over in that world at all.
Especially not someone so prominent who had already mastered his own craft so thoroughly. But through his silver screen venture, with films like 1961’s Blue Hawaii, he proved that Marlon Brando-level acting talent wasn’t always a requirement for becoming a leading Hollywood man. Often, it was about having the grace and good fortune to be a trend setter, regardless, all while satisfying the detail-hungry nature of the legions of die-hard fans who lapped up anything he plastered his name onto.
But Presley had his share of missed opportunities, too. One of the more mythologised aspects of Presley’s life, particularly as he got older, was his relationship with his own ageing. Whether true or not, he’s often painted as someone who wasn’t so sure about his own capabilities as the clock ticked on, especially when it came to film roles. This is touched upon in Baz Luhrmann’s Elvis during a scene in which Priscilla mentions starring in A Star Is Born alongside Barbara Streisand.
In the film, he dismisses the idea because he’s about to turn 40 and no one will remember him. In reality, it’s said that his infamously controlling manager, Tom Parker, turned down the offer on his behalf, citing insufficient money as the sole reason. The role instead went to industry newcomer Kris Kristofferson, becoming a hot entry across awards season, and sparking a cultural phenomenon with a string of remakes after release.
In hindsight, it’s easy to see how much Presley’s involvement would have taken the world by storm. A major figurehead across film and music, stepping into the shoes of troubled alcoholic John Norman Howard would have probably signposted a turning point in his legacy, crossing over with many themes he already identified with: the pressures of fame and managing your love life. But it’s easy to see his involvement as something detrimental to the film’s success, too.
Especially as Kristofferson was just starting out his career, and the role beckoned someone fresher, someone who could breathe new life into a role that also needed careful consideration and nuance. It’s not the first opportunity Presley missed out on, but either way, it certainly feels like his biggest.
