Priscilla, directed by Sofia Coppola, is surrounded by an enticing question. In many respects, Coppola’s film’s title character is part of the cast of stunning, misunderstood, and intensely lonely women she has come to know through films such as The Virgin Suicides, Lost in Translation, and Marie Antoinette. However, Priscilla Presley is not a made-up character. In addition to being the executive producer of Priscilla, she is the spouse of Elvis Presley and the author of the 1985 memoir Elvis and Me, co-written with Sandra Harmon and the basis for Coppola’s movie. This would be the perfect illustration of claiming one’s own story for anyone who needed one.
Though her husband’s legendary status may have overshadowed the real Priscilla Presley, she is still the main character in this tale. The turbulent Presley marriage is languidly unraveled in Priscilla. Compiling Priscilla’s point of view exclusively is an honorable addition to Coppola’s resume. The filmmaker specializes in delving into the inner lives of women—girls, really—who are misinterpreted or written off because they are surrounded by privilege and attract powerful men. As observed by Coppola’s unique eye, these women transcend the mythology that envelops them.
One star made a call. Cailee Spaeny
When Priscilla is forced to lean into Elvis (Jacob Elordi) in 1959, their paths initially intersect. She ducks to keep up with his long stride when they walk together. Coppola desired that an actress plays Priscilla. Performer who could grow with the character throughout the movie, effectively portraying a variety of ages. Spaeny is amazing; she really changes as Priscilla matures into a troubled adult.
She tells him she needs her parent’s permission to attend the party, blushing at the mention of Elvis’s friend. It’s very enticing to think about attending a party with Elvis Presley. During their initial chat, Elvis calls and giggles. Stars shine in Priscilla’s eyes as she tells him she’s in the ninth grade.
The majority of the women in the movie bring up Priscilla’s age—or lack thereof—multiple times. Why Elvis isn’t able to find someone his age is a mystery to her mother. At a party, scandalized women commented on Priscilla’s appearance, saying she “looks like a small girl.”
She is mature for her age in Elvis’ eyes. His early conversation with Priscilla helps him connect with her because, like the main character in Lost in Translation, they are both homesick in a foreign land. Priscilla gives Elvis genuine consolation as he confides in her about his mother, who had died a few months earlier. “Please do not ruin my life,” she tells her parents when they start doubting her bond. His mom passed away recently. Although he trusts me, he is grieving. It is attractive to adolescent Priscilla to have the chance to make this older, cooler man feel needed and to console him. The relationship’s unsettling aspects are evident in every frame of Coppola’s film, even though terms like “grooming” and “abuse” are never used in the narrative.
Priscilla’s conclusion comes off as somewhat underwhelming; there are no lofty claims or assurances, and there isn’t a traditional satisfying conclusion. However, this quiet tenderness is what makes the movie successful. Priscilla does not want to cry when she leaves the room, even though she remains composed in front of Elvis. She pauses to inhale deeply, as if she’s still processing what she’s accomplished, as she drives from Graceland into her new life. Eventually, she settles on a composed expression. It is the conclusion that signals liberty, harmony, and fresh starts.
