SOME 45years on from his sudden and infamous death in Graceland, Elvis Presley’s mark on global culture remains untouchable.

The snake-hipped, Mississippi born, sound of mid-twentieth century rock n roll remains, to this day, the best selling solo artist of all time. Only The Beatles have bested his record. Michael Jackson, Presley’s nearest rival, languishes a hundred million sales short.

The rise and fall of Elvis is well documented. A rags to riches tale with iconic peaks and a devastating downward spiral. Indeed, for many born since his 1977 death, Presley’s legacy is inexorably tied to his addictions to drugs and deep fried foods.

It is all too easy to forget the remarkable way Elvis changed the face of music in America and, at one time, redefined what is meant to be famous.

While many thousands of impersonators don thick black wigs and white jump suits each year, it is rather surprising that there has not yet been a major, theatrically released, biopic about Elvis. Until now, the closest was John Carpenter’s 1979 made-for-television effort, starring Kurt Russell.

And yet, a recent trend in Hollywood has seen an increasing number of music hall of fame stars receive the biopic treatment. Last year it was Aretha Franklin, next year Whitney Houston. This week: Elvis.

Written and directed by Moulin Rouge and Strictly Ballroom auteur Baz Luhrmann, Elvis chronicles the life and career of the man himself, with a focus too on the complex relationship he shared with his manager, Colonel Tom Parker.

Austin Butler (Once Upon a Time in Hollywood) leads the film in the title role. He is both an impressive find and genuine lookalike.

Tom Hanks is barely recognisable as Colonel Parker, while there are roles too for Helen Thomson, Richard Roxburgh and Olivia DeJonge as Elvis’ mother, father and wife. All told, it’s a huge cast.

Luhrmann never knowingly does anything by half and Elvis is no exception. It is a work of great excess - as was the man himself - and a blitzkrieg of cinematic razzmatazz.

If depth and insight are, perhaps, lacking here, it’s hard not to be swept up in the joyride. As was the case with Luhrmann’s Australia and 2013 take on The Great Gatsby.

Elvis is, all told, the most spectacular film you will see this year. It’ll leave you all shook up.