Priscilla

In selected cinemas now

It’s hard to critique Sofia Coppola’s adaptation of Priscilla Presley’s memoir Elvis and Me without comparing it to Baz Luhrmann’s more showy 2022 biopic Elvis, which delivered a mostly sympathetic retrospective on the life and times of the self-proclaimed ‘King of Rock n’ Roll’. Priscilla paints a far more troubling picture, in which Elvis (played by man of the moment Jacob Elordi) essentially grooms a teenage Priscilla (Cailee Spaeny) and ensnares her within the confines of his Graceland home, where she is expected to indulge his every whim.

Like all of Coppola’s films, this is a highly stylised affair which perfectly depicts the hollow trappings that come when material wealth takes precedence over emotional fulfilment. Priscilla finds herself living out her teenage dream but, with time, finds it to be more akin to a nightmare, one which essentially robs her of her formative years. Spaeny is a minor revelation in the lead role, embodying - both emotionally and physically - the afflictions that are encountered on the journey to womanhood. Hers is a cleverly understated performance, one devoid of histrionics, that dovetails perfectly with Elordi’s turn as Elvis which, while more toned down than Austin Butler’s acclaimed interpretation, naturally chews up much of Priscilla’s scenery.

Indeed, this is arguably Coppola’s strongest film since Lost in Translation. Indeed, in a similar vein to that classic, Priscilla is preoccupied with illuminating female perspective, something which is so often overshadowed by the worldview of men, especially ones with Elvis’ profile and following. In that respect, it is the perfect counterbalance to Elvis and underlines the innate sadness that lay at the core of the Presley family.