Directed by Sofia Coppola, Priscilla is a delicate look into Priscilla Presley’s relationship with Elvis, starring Cailee Spaeny in the titular role, and Jacob Elordi as Elvis. It is based on the book, Elvis and Me, by Priscilla Presley, who also produced this film.
While her military family is stationed in Germany, 14-year-old Priscilla Beaulieu meets 24-year-old global superstar, Elvis Presley, who is also stationed there. They begin a relationship of sorts, and even though it looks like it ends when Elvis leaves shortly after, Priscilla is invited to live with him. She moves, though it takes her parents some convincing to grant their permission and, eventually, Priscilla and Elvis are married. Priscilla takes us through the various stages of their relationship, from its inception to its demise, all from Priscilla’s perspective.
I used the word ‘delicate’ in the first line of this review, and this was something I noticed about the film a few minutes into it: it felt gentle, like I could see Coppola cradling the story in her arms. Everything on screen seemed intentional- which, yes, directors are intentional with how they frame their shots, but there was something about this that made me consciously think, “oh she wanted me to notice that.” And it could be the nature of the story she was telling.
In my opinion, going through Priscilla and Elvis’ story so delicately really emphasized the hollowness of their relationship. Move away from the flashing lights and constant busyness of Elvis’ life, and you see just how empty Priscilla’s was. There was no giddy charm to move me as there would be in a romance story. On the surface, there were the “I’m very fond of your daughter” / “I want to do right by you” speeches and glamorous photographs. But, beneath it all, there was nothing that gave the relationship substance, especially with Elvis constantly away and a young Priscilla constantly alone. In the film, instead of the surety of an equal partnership (which I will always eat up!) or a passionate lust (which is weird, considering their ages when they met, but would still be more expected), Elvis treats Priscilla more like a doll that he dresses however he wants and keeps in his house for those moments when he remembers to play with it.
The film maintains a chaste innocence, trading explicitly intimate scenes for ‘chivalrous’ speeches from Elvis and an ultimate loss of interest, which are true to the book. Even a ‘wedding night’ is simply alluded to, with Priscilla turning up pregnant the next time we see her. She’s almost kept a ‘girl’- by Elvis, and the film- and this innocence is elevated by Spaeny’s subtle approach to the character of Priscilla, naively trustful at first and quietly resigned by the end. (Elordi also reimagines Elvis, playing him as calmly possessive with sudden outbursts, as opposed to the exuberant larger than life character we are used to seeing.)
I’ve been a fangirl for the better part of my life, so I know what it’s like to imagine being in a relationship with my favourite celebrity, or how quickly I would have said yes if Cody Simpson asked a 14-year-old me to be his girlfriend. I felt like I knew my faves because of what I’d seen of them through their films/music and pictures, but our perception isn’t always reality. Watching the film, I thought it was interesting how the clothes, hair, makeup, and pictures portrayed ‘put together,’ ‘in love,’ and ‘happy’, but that was in direct contrast with their reality. The older I get and more I share parts of my life through social media, I am more conscious about not pretending to the public to keep up appearances.
I am also now more concerned about being consumed by who I’m next to or what I do and very intentionally try to hold on to things that make me ‘me’. (Don’t ask me where this started, I’m not sure). This film is about Priscilla breaking away from the image created for her and regaining ownership of her life, body, and person. Now, she gets to tell her story the way she wants.
Priscilla is available in theatres on Friday, November 3rd, 2023.
