‘Priscilla’ Movie Review: Choppy Storytelling In A Film Lacking Depth
Photo from A24
From Joe Peltzer
Whereas Baz Luhrmann’s 2022 Elvis was a bombastic, stylish look at the late singer’s life Tom Hanks’ Colonel Tom Parker playing a big part, Sofia Coppola’s Priscilla is more intimate and puts Priscilla Presley front and center. The result is both an intriguing story of problematic first love and a frustratingly simple film that could have went so much deeper.
Based on Priscilla Presley’s 1985 memoir “Elvis and Me,” Priscilla pulls back the curtain on a tumultuous marriage and the titular figure’s lonesome days alone in Graceland, though very much in the shadow of the musical superstar. Cailee Spaeny gives a passionate performance, alternating between jubilant innocence and tortured existence with veteran precision unusual for such a young actor. This very much is her film; Jacob Elordi’s Elvis is present, and the actor is dynamic in the role, but he takes a backseat to a story most probably never knew. Spaeny’s acting is far more verbose than the words spoken; her physical presence is haunting and visceral. Together, Spaeny and Elordi depict a passionate, often uncomfortable love with clear roles for both Priscilla and Elvis that slowly began to spiral.
Sofia Coppola’s films are often divisive, her style not exactly the most widely accepted. 2006’s Marie Antoinette was chided for a lack of plot and character development, but the pandemic release of On The Rocks was commended for being warm and cathartic. Priscilla leans more towards the former, each character clearly defined but left unexplored on deeper levels that show the impact of the events depicted. The film is essentially snapshots of moments in Priscilla Presley’s life, from first meeting Elvis while her family was stationed in Germany (while only in 9th grade) to the final days of their marriage. The intent of the direction is clear with Copola’s script adapting Priscilla’s perspective and experiences to depict Elvis in a less-than-flattering light. Whereas Luhrmann’s Oscar-nominated film glorified Elvis’ life and impact, Priscilla highlights an abusive and opportunistic side that kept Priscilla hidden away and at his beckon call while he lived his life to the (often unfaithful) fullest.
It’s in this depiction that the film ultimately falters, reducing the conflicts to a surface-level exploration rather than exploring the complicated realities driving the emotions. Many scenes show Spaeny’s Priscilla simply walking around Graceland alone before switching over to quick scenes that push the timeline forward without much context. In a film that I believe wants to give space for Priscilla to tell her story, it contributes to putting her in a box. What came next after Priscilla began developing her individualism and ultimately stood up to Elvis? How did she pick up the pieces? Priscilla is comfortable leaving this unaddressed.
Phillippe Le Sourd’s cinematography transports us through the years as the scenes quickly move through the timeline, showcasing Tamara Deverell’s exquisite set design and Stacey Battat’s transformational costume design. Coppola’s script is what becomes distracting, however; I found myself bored at moments and unsatisfied with the film’s inability to break out of the Hallmark Channel film DNA it gets stuck in. Priscilla succeeds in telling Priscilla Presley’s side of history, but fails her in connecting audiences with her experiences, instead encasing it all in a dull, lifeless film.
Rating: 2/5
Priscilla is now playing in theaters.
