Producer : Scarlett O’Leary
Executive Producer : Jeanne Veillette Bowerman
Executive Producer : Tony Tamberelli, Sr.
Music: Marco North (as Martin Ruby)
Starring Carla Duren as Sgt. Olivia Sloane
Gone Elvis is a short, independent film, written and directed by David Newhoff. Inspired by thousands of true stories, this 30-minute narrative is a fictional portrayal of a day in the life of a homeless, female veteran of the Iraq war.
Now living invisibly in the country for which she risked her life, former SSgt. Olivia Sloane (MP) grapples with PTSD and other traumas as she tries to remain functional in pursuit of the life she’s lost. Abandoned by her husband, who also took custody of their daughter, Olivia has returned, like so many fellow vets, to find that life in America has carried on without her and, worse, that it may no longer have a place for her.
"While planning the production of goneElvis, I wanted to use my friend Martin Ruby’s cover of “Tonight’s the Night,” famously recorded by The Shirelles, but I was turned down by the publishers when I requested the license for which I could not of course pay. It seems the tendency these days is to view this kind of obstacle as unfair or muting the creative process of the next generation; but this attitude is a mistake, and I’d venture that almost any serious artist will agree. Because I couldn’t have what I thought I wanted in the first place, I ended up with something much better simply because I was forced to go look for it. In this case, I began by searching songs in the public domain, and when I came across the Mexican standard Cielito Lindo (you know the one with the refrain Ay, Ay, Ay, Ay), I got goosebumps imagining what Martin Ruby might do with it translated into English. Although normally sung at a bright tempo by mariachi bands, Cielito Lindo is fundamentally a lullaby, which immediately resonates because the protagonist in the film clings to the hope of finding the daughter she lost when her husband abandoned her while she was in Iraq. Knowing that Ruby grapples with his own challenges as a single father of a young daughter, I imagined his rendition of this song might produce something very haunting. It did. Instead of a bittersweet cover of a love song, we had a piece of highly-original music that is thematically perfect for the film. Suddenly, my little low-budget short didn’t have a borrowed song — it had a soundtrack."
- DAVID NEWHOFF
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