‘Priscilla’ Movie Review 2023

“Priscilla”: Sofia Coppola’s Poignant Exploration of Love, Fame, and Liberation

Sofia Coppola is an auteur filmmaker, known for her distinct thematic focus. Her films consistently explore the theme of captivity and isolation. In her works, the characters often find themselves confined within gilded cages, with “Priscilla” serving as a prime example where the pursuit of a metaphorical bird, as Kafka would put it, is embodied in the persona of Elvis Presley.

The King, Elvis Presley, first crossed paths with Priscilla Beaulieu in 1959 during his U.S. Army assignment in Germany. Priscilla, the daughter of another officer stationed there, was just 14 years old at the time they were introduced. In Sofia Coppola’s film, which she both wrote and adapted from Priscilla Presley’s 1985 memoir, “Elvis and Me,” the story pays tribute to the author by presenting the events from her perspective. While contemporary assessments of Elvis’s pursuit, or one might even say “captivation,” of Priscilla often draw criticism for its unsettling nature, with terms like “groomer” being used, from the viewpoint of a dreamy and homesick young girl from Austin, Texas, the attention of this remarkably shy superstar is undeniably exhilarating.

In a clear and intimate collaboration with cinematographer Philipe Le Sourd (known for his work on Coppola’s “The Beguiled”) and editor Sarah Flack (a longtime collaborator and a personal friend of mine, I must acknowledge), Sofia Coppola crafts a world of serene and visually captivating exteriors. Within the confines of her room in a modest German dwelling, Priscilla finds solace in the pages of fan magazines. When she ventures out to Graceland and is cautioned against appearing on the lawn too frequently, she lounges in living rooms and dens that underwent a distinct transformation after her divorce from Presley in early 1973. Often, Priscilla grapples with a sense of aimlessness, unsure of how to occupy her time. While her iconic husband’s film career appears to be mishandled by the enigmatic Colonel Tom Parker, who remains unseen (did Sofia Coppola perhaps witness Tom Hanks in “Elvis” and think, “There’s no surpassing Tom Hanks, I shouldn’t even attempt it”? Actually, I don’t believe that’s the case), he departs Memphis for Los Angeles, leaving his bride with the charge to “keep the home fires burning.”

What, you might wonder, is Priscilla’s purpose in this situation? Especially considering that Elvis has taken steps to keep her away from her family and essentially become her protector, he steadfastly declines her growing pleas for intimacy. Their initial encounter in Germany reveals an utterly sincere and earnest Elvis who confides in the ninth-grader (surprised to learn of her young age) that he’s in need of someone to talk to. He’s just lost his mother, and the whole scenario appears remarkably innocent.

In the early stages of their relationship, they both exhibit a sense of innocence. Elvis proudly displays a poster of “On The Waterfront” in his bedroom and expresses his desire to study at the Actor’s Studio upon returning to the United States, aspiring to emulate the likes of Marlon Brando and James Dean. He takes Priscilla to see “Beat the Devil,” and she’s both entertained and in awe as her friend recites all of Bogart’s lines in the film from memory. He envisions a grand artistic future, while her sole aspiration is to be with him. Of the two, only one will see their dreams materialize, but even then, achieving the dream may not be enough.

This composed and deliberate film finds its solid foundation in the remarkably nuanced performance of Cailee Spaeny. At 25 years old, she convincingly portrays a 14-year-old to such a degree that it almost makes you question whether she can believably age into a woman approaching 30. Yet, she does so with grace. Opposite her, Jacob Elordi stands tall as Elvis, creating a noticeable contrast, which, while somewhat exaggerated compared to reality, proves to be quite effective. This portrayal of Elvis is soft-spoken but prone to unsettling outbursts of anger as he increasingly relies on medications to boost his energy and combat insomnia. All the elements that ultimately led to the man’s demise are present here in a seemingly more manageable form, but Coppola’s storytelling effectively conveys their insidious nature. The film delves into some of Presley’s idiosyncrasies from the early 1960s, including a phase of Bible study, reading the “Autobiography of a Yogi,” and even experimenting with LSD alongside Priscilla. Coppola’s brief depiction of their psychedelic journey is one of the most believable accounts of such an experience in recent cinema. Throughout all this, even amidst rumored or actual on-set affairs, he maintains Priscilla’s chastity until their marriage. And then, immediately, she becomes pregnant.

While Priscilla’s unfulfilled desire is emphasized in the initial 90 minutes, the film notably omits the consummation of their wedding. It’s unlikely that Coppola was influenced by the criticisms of certain voices on social media who dismiss sex scenes as irrelevant if they don’t drive the plot forward. Considering the extensive setup of the night and its subsequent aftermath, one might argue that if any sex scene could have enriched the narrative, it would have been this one. Whether Coppola’s choice to exclude it stems from a desire for ambiguity, a sense of restraint, or perhaps influenced by Priscilla Presley’s role as an executive producer and supporter of the film remains open to interpretation.

As the film draws to a close, it becomes evident that Elvis has, in fact, become a prisoner, not only of his own fame but of many other factors as well. In a shot from behind during one of his numerous Vegas performances, we witness that he is ensnared in a trap. The woman he once held close, believing it was an act of love and fulfilling a real need, is now unable to free him from this predicament. His tragic fate serves as the catalyst for Priscilla’s emancipation. Thus, Sofia Coppola’s film concludes on a note that is both poignant and haunting.

I wrote this review while attending the Venice Film Festival. “Priscilla” is set to hit theaters on October 27, 2023.

Film Credits

Cast
Cailee Spaeny as Priscilla Presley
Jacob Elordi as Elvis Presley
Dagmara Domińczyk as Ann Beaulieu
Emily Mitchell as Lisa Marie Presley
Jorja Cadence as Patsy Presley
Tim Post as Vernon Presley
Luke Humphrey as Terry West
Ari Cohen as Captain Beaulieu

Director
Sofia Coppola

Writer (book)
Priscilla Presley
Sandra Harmon

Cinematographer
Philippe Le Sourd

Editor
Sarah Flack

By: M Z Hossain, Editor Sky Buzz Feed