'Priscilla' reinvents traditional Elvis narrative, shines light on trappings of fame

Last year, Baz Luhrmann’s "Elvis" took the world by storm, grossing more than $200 million while receiving rave reviews and multiple Academy Award nominations. 

Despite its popularity and widespread acclaim, the film’s high-energy editing and over-the-top acting amounted to a superficial biopic that merely summarized Elvis Presley’s life and failed to add any depth or nuance to the superstar. 

Fortunately, Sofia Coppola’s recently released “Priscilla” stands in contrast, painting an immensely realized portrait of its subject matter. Based on Priscilla Presley’s memoir “Elvis and Me,” the feature traces the titular figure's (Cailee Spaeny) life from her introduction to Elvis Presley (Jacob Elordi) to their eventual divorce. 

The film probes the intricacies of Priscilla’s relationship with Elvis and explores why the public has persistently perceived her in a demeaning light. 

While there was a lot I didn’t like about Luhrmann’s “Elvis,” the aspect that frustrated me most was its failure to hold its titular focus accountable, particularly in his problematic relationship with his wife. 

“Priscilla” confronts its superstar’s dark past head-on, centering the narrative on the age gap and power dynamics between Priscilla and Elvis, who were respectively 14 and 24, when they first met. This eliminates any room for ambiguity or misunderstanding, fostering a raw and genuine examination of their relationship.

One aspect of the movie that especially intrigued me is the deliberate absence of Elvis’s music. One of the rare instances we witness him on stage is in a silent, brief, dimly lit scene, where only his imposing shadow is visible.

Instead, the soundtrack relies on other popular 60s love songs like “Forever” and “Crimson and Clover” to evoke the essence of the era. While this may have stemmed from legal issues, it ultimately contributes to the complicated and bittersweet emotions Priscilla harbors toward Elvis, especially as she discovers he isn’t the charming gentleman she initially thought.

Given the film’s central theme of feeling contradictory emotions throughout life, such as self-loathing alongside love, Coppola proves to be a worthy choice to direct “Priscilla.” Drawing from her past works, particularly “Lost in Translation” and “Marie Antoinette,” Coppola smoothly imbues this theme into her latest piece. 

Additionally, Coppola’s slow, methodical approach to filmmaking contributes to the film’s authenticity. By honing in on the seemingly insignificant conversations and the quiet moments the characters spend alone, Coppola provides a profound and revealing exploration of the characters. 

This film demands a lot from its actors, particularly in delivering famous accents and looks, but both Elordi and Spaeny rise to the challenge and deliver.

Elordi continues to prove why he’s one of today’s most promising young actors. He captures every facet of Elvis’s larger-than-life persona, embodying both the charismatic and vindictive sides of the character. Even in scenes where he is not physically present, Elordi’s commanding presence is palpable.

Spaeny, though, left me the most impressed, delivering one of the best performances of the year. In her first major leading role at the age of 25, Spaeny seamlessly disappears into the real-life figure. She does a fantastic job playing Priscilla at various life stages, from a naive, innocent, teenage girl to a mature, confident woman.

The film refrains from needlessly exploring the other figures within Elvis’s life, sticking to a narrative solely centered around Priscilla’s perspective. The audience discovers information about Elvis alongside her — one example being when Priscilla reads tabloids discussing her husband’s adultery. This approach creates a deeply sympathetic portrayal of a woman who has endured neglect throughout her life.

“Priscilla” is one of the year’s more quiet, thoughtful movies but it leaves a significant impact. In a cinematic landscape that’s been dominated by blockbusters and spectacles, patient and restrained films like “Priscilla” offer a much-welcomed change of pace.