From Jeff Nelson

Elvis Presley was more than a man – he became a cultural icon that the world still cannot get enough of. Baz Luhrmann’s 2022 biopic, simply titled Elvis, provided a frenetic look into the volatile life of the “King of Rock and Roll.” Only a year later, Sofia Coppola takes another look into this world, focusing on his ex-wife, Priscilla, with a very different cinematic experience. 

Teenage Priscilla (Cailee Spaeny) meets the legendary Elvis (Jacob Elordi) at a party after his career is already in full swing. She changes the trajectory of her entire life to accommodate the wild life of the man she falls in love with, transporting her into an almost surreal reality. Their relationship transforms with his career, as it begins to define her entire being.

Set in 1959, Priscilla lives a lonely life on an Air Force base in Wiesbaden, Germany, where her father is stationed. She left her friends and all that she knows in America, finding a glimmer of hope when a stranger offers her the opportunity of a lifetime to meet a 24-year-old Elvis at a social event. He’s instantly drawn to her, as her presence subsides his home sickness. With her only 14 years old, the age gap is noticeable, although I’m not about to traverse the age gap discourse in this review.

Coppola balances Priscilla’s romance with Elvis into the framing of a coming-of-age story, where the high school girl is still figuring out who she is. He dazzles her, while she simultaneously witnesses the vulnerability he displays regarding the death of his mother. However, Elvis doesn’t always have her best interests at heart, owning every aspect of her life in return and shaping her in his own idea of who she is, even despite previously asking for her to not ever change.

Priscilla doesn’t leave the perspective of its title character, although it’s all put into the context of Elvis’ chaotic fame and, ultimately, his downward spiral. Somehow, we never learn a whole lot more about her from here on out, making it difficult for Coppola to find the emotional impact in her most dramatic moments. The film is at its most captivating when it’s rooted in her own self-discovery, compiling loneliness, and her desire for a life of love and passion.

Spaeny brings an empathetic quality to the role of Priscilla, allowing more depth to shine through than what’s on the page. Meanwhile, Elordi delivers an impressive Elvis. Austin Butler turned a stellar performance in this role only a year ago, but the Saltburn star brings a mysterious, subtle sparkle to the icon that gives the character a contrasting point-of-view. 

Cinematographer Philippe Le Sourd brings a chic vision to the screen that gives the film a sense of timeless elegance. As the story moves from Germany to Graceland, Coppola and her team create great contrasts, while Priscilla’s loneliness in it all still feels palpable. The Elvis Presley Estate didn’t approve the production to use his classic music, the soundtrack here remains strong.

Priscilla is an excessively safe, emotionally-reserved biopic from Coppola that still proves her strengths as a filmmaker. I’m not sure how many more movies the world needs about the highs and lows of Elvis’ life, but Priscilla’s coming-of-age story and the exploration of finding oneself in the isolating shadow of a cultural behemoth are enthralling story elements. Spaeny and Elordi are a wonderful pairing, backed with artistic style. However, it falls into too many biopic trappings that hold it back from greater heights and memorability.

Rating: 3/5

Priscilla hits theaters on November 3rd, 2023.

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