Whether you grew up jamming to his tunes, enjoyed the movies he starred in, or watched one of the many portrayals and impersonations of the man, Elvis Presley’s impact on popular culture is undeniable.

Despite mixed reviews, including one that called it “deliriously awful”, “Elvis” is a rock ‘n’ roller-coaster ride that takes audiences through the life of an icon. Director Baz Luhrmann’s musical biopic made its world premiere at the Cannes Film Festival last month and premieres in Malaysia today.

And in spite of early misgivings over the casting of Austin Butler – including criticisms that they should have chosen someone who looked more similar to the great performer – the 30-year-old actor may well have presented one of the best interpretations of Elvis ever.

Butler’s portrayal and embodiment of the legend is truly outstanding, from the way he talks and, yes, even looks; right down to how he performs onstage: smooth baritone, pouty lips, shaking hips and all.

Indeed, his Oscar-buzzworthy performance received praise from Presley’s family, including ex-wife Priscilla and daughter Lisa Marie, who tweeted that Butler “channelled and embodied my father’s heart and soul so beautifully”.

The movie takes audiences through the King’s transformation from a young teenager who drove girls crazy with his hip swivelling and pink suit, to a crooner battling obesity and prescription-drug abuse.

But despite being the eponymous character, Elvis himself is only half the story. Through the direction of Luhrmann, who co-wrote the screenplay, the man’s life is explored in a different way – from the perspective of his manager, played to sinister and conniving effect by Tom Hanks.

Hanks is hardly recognisable here, but he gives an amazing performance as the person who discovered Elvis at a young age and takes control of his career, turning the singer into a national and global superstar.

Telling the story from his deathbed, Parker does his best to convince those who would believe him that he is not the reason for Elvis’ downward spiral, despite pushing the artiste to his limits at the expense of his health and wellbeing.

Yet Luhrmann makes it a point to show how Parker – real name Andreas Cornelis van Kuijk and not an actual colonel – takes advantage of Elvis’ trust: he is always seen lurking in the background, making deals that benefited him, and ultimately – allegedly – swindling Elvis of millions to cover his own gambling debts.

Through it all, the audience feels sympathy for Elvis as they witness his vulnerability; by the end, although it’s clear he was no saint, the film helps viewers understand his sins.

Of note is the man’s respect and admiration for African-American culture and music, as many of his songs are inspired by the sounds of gospel and blues by artistes the likes of B B King, who is seen interacting with Elvis in the movie.

And throughout, glimpses of the actual Presley are seen as Luhrmann incorporates real-life footage of him performing on stage – something that will certainly tug at the heartstrings of true-blue-suede-shoe Elvis aficionados.

All in all, “Elvis” is far from perfect, but it is an entertaining watch. And while there are moments that drag on longer than they should, the lead-up to the heartbreak hotel of an ending that everyone knows is coming makes the near-three-hour runtime worthwhile.

‘Elvis’ is screening in cinemas nationwide.