TMS Movie Review: Priscilla

(A24 Films)

Sofia Coppola’s Priscilla is not a movie for Elvis Presley fans. It’s barely a movie for fans who like Priscilla Presley. It is essentially a movie for Sofia Coppola followers. There are historical inaccuracies and creative liberties up the wazoo, and not even a single Elvis song to be found on the soundtrack. People who were interested in the new historical drama outside of Coppola fans were expecting to see the King of Rock & Roll exposed as a predator for how unethical his relationship began with his ex-wife. But the picture casually touches that aspect of their history about as much as Doolittle & Loretta Lynn’s marriage is portrayed in Michael Apted’s Coal Miner’s Daughter (1980). Priscilla is the antithesis of Baz Luhrmann’s Elvis (2022) from just 15 months ago, in both good and bad ways.

Rather than portray the First Lady of Rock & Roll as sassy and free-spirited like how Olivia DeJonge was in Luhrmann’s feature, 14-year-old Priscilla Beaulieu (Cailee Spaeny) is introduced in Coppola’s picture as a bored wallflower who is stuck in West Germany while her stepfather Paul (Ari Cohen) is stationed there as a US Air Force Officer in 1959. Almost instantly things appear to fall into place for Priscilla. From being invited to a house party where 24-year-old superstar Elvis Presley (Jacob Elrodi) is attending while drafted into military service; to being asked out by the rockstar; to eventually invited to live at his estate Graceland back in the states by the time she’s 17. In between homework, parties, photoshoots and dates, we see that not all is perfect while dating and being married to the biggest star in the world.

(A24 Films)

Dagmara Dominczyk appears as Priscilla’s concerned mother. Ironically, Coppola’s latest release reminded me of Andrew Dominik’s maligned Blonde (2022) from last year, though from a female lens rather than a male’s. The former Mrs. Presley is in victim mode for the entire runtime, with no other motive or mood absorbed. Much of the attention before the new film was released was on the ridiculous height difference between Spaeny and Elrodi [Spaeny is three inches shorter than the real Priscilla at 5’1”, while Elrodi is six inches taller than Elvis at 6’5”], as well as 24-year-old Spaeny’s believable baby face. It’s impossible to ignore the age difference physically and successfully doesn’t let us forget how inappropriate the couple are during their courtship. But while the tone works for the first hour of the film, the second half should have us seeing some growth in both Priscilla’s maturity and the dynamic between the pair. Instead, we meander for various scenes of the ingenue going along with the rock wife life and accepting that her husband cheats and neglects her regularly. Once she’s 27 and realizes being married to a famous musician might not be worth it, we’ve already reached the end credits. This is extra amusing if you know Priscilla’s history beyond Elvis, as she has both an impressive and questionable whole adult life after the divorce that’s not touched upon at all in the movie.

Along with the fact that huge periods of time are glossed over throughout the film [such as Elvis initially wanting to propose to co-star Ann-Margret before Priscilla, or both spouses having extramarital affairs], we’re left wondering if Priscilla might have been stronger if the characters were fictional and loosely based on real celebrities. What does work in the film is all from Coppola. The indie filmmaker’s movies are known for their distinctly feminine ‘vibes’ and there are plenty of them here, especially during the scenes where Priscilla is by herself. Everything fans liked about The Virgin Suicides (1999), Lost in Translation (2003) and Marie Antoinette (2006) can be found in Priscilla, with some eye candy cinematography and art direction, and a great soundtrack selection that includes the Ronettes, Dolly Parton, Spectrum and Santana. In an era where we’re getting swarmed with quick, straight-to-streaming movies with barely an artistic touch, it’s nice to be reminded an auteur’s signature directing style. Depending on who you are a fan of, Priscilla may or may not be for you.