TROLLS BAND TOGETHER (2023, animated)

November 16, 2023

Greetings again from the darkness. For the third film in the ‘Trolls’ franchise, much of the creative team is back at it. This includes co-directors Walt Dohrn and Tim Heitz, as well as screenwriter Elizabeth Tippet, who penned this story based on the original characters of Thomas Dam. It seems obvious that this has been developed for kids, yet it’s always interesting to see how much effort the animation films put into entertaining the adults as well. And being the third film, expectations are naturally somewhat muted.

We first see BroZone and their disastrous stage performance that leads to backstage arguing and a breakup. The band consists of Troll brothers, including Baby Branch, who inexplicably gets deserted when the older brothers insist on going their own way. Time passes and we catch up with (no longer Baby) Branch (Justin Timberlake). He’s attending the wedding of friends when it’s interrupted by his older brother John Dory (Eric Andre), who explains that brother Floyd (Troye Sivan) has been kidnapped. Through a twist of screenwriting, the only way Floyd can be rescued is by the brothers achieving “perfect harmony” … their previous failed attempt caused the band’s breakup.

Joining the brothers on the trip is the eternally perky Poppy (voiced by Anna Kendrick), who has long desired a sister of her own (in one of the most obvious foreshadowing moments ever). We follow along on the journey as they reunite with BroZone brothers Spruce (Daveed Diggs) and Clay (Kid Cudi), and Poppy’s big surprise of Viva (Camila Cabello). Things get crazy when the group tracks down Floyd and finds his ‘essence’ is being stolen by the talentless, entitled, obnoxious siblings, Velvet (Amy Schumer) and Veneer (Anthony Rannells). This prefab brother-sister duo only wants to be famous and see no issue with stealing Floyd’s talent.

Some of the film’s funniest moments are provided by Velvet and Veneer’s assistant Crimp (Zosia Mamet) and Tiny Diamond (Kenan Thompson), the latter of whom absorbs quite a bit of energy from a mysterious pacifier that he offers to share. The film is so colorful, it at times looks like a package of Skittles exploded on the screen. Cute characters, love for brothers and sisters, lots of color, and funny characters are a great way to win over kids. As for parents, there is quite a bit of nostalgic music from the 90’s and 00’s, and enough Boy Band puns to keep everyone on their toes … “we’re out of sync”.

In theaters beginning November 17, 2023

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Posted by David Ferguson

NEXT GOAL WINS (2023)

November 16, 2023

Greetings again from the darkness. It might seem that a team goal of merely scoring a goal is setting the sights a bit low, but then again, we are talking about the American Samoa soccer team that lost to Australia by the incredible score of 31-0 (not a typo) in a World Cup qualifier. Brought to you by the comedic genius of writer-director Taika Waititi and his co-writer Iain Morris (“The Inbetweeners”), it was filmed in Hawaii a few years ago and easily slides into the category of feel-good entertainment, despite the near-certainty that some will accuse Waititi of cultural insensitivity. Much of it is based on a true story.

For those familiar with Waititi, you know that he’s a quirky and talented New Zealander filmmaker behind such gems as JOJO RABBIT (his Oscar winner from 2019), THOR: RAGNAROK (2017, still my favorite non-Batman superhero movie), HUNT FOR THE WILDERPEOPLE (2016, a hidden gem that I frequently recommend), and two terrific TV series, “What We Do in the Shadows” and “Flight of the Conchords”. So, it’s not surprising that this latest is a bit difficult to categorize. Is it a story of underdogs rising to discover their own self-worth? Or is it the story of a misguided, bitter coach rising to discover his own self-worth? Or is it the story of how culture bonds a community in the face of embarrassment? Or is it the touching story of the first non-binary trans person to play World Cup soccer? The film’s weakness is that it’s a bit of all without really being ‘about’ any. Instead, Waititi focuses on having a good time and making us smile.

Michael Fassbender stars as Thomas Rongen, a soccer coach whose anger issues tend to boil over at the wrong times, costing him a marriage (Elisabeth Moss) and a premier coach gig. The federation (led by smarmy Will Arnet) cast him off to coach the worst team in the sport, American Samoa. Of course, Rongen drinks too much and sees himself as too good to coach the team of misfits, despite the warm welcome from Tavita Taumua (Oscar Kightley), the head of the Football Federation of American Samoa. Tavita’s wife, Ruth, (the always humorous Rachel House), is a bit more direct as she sees Rongen for what he is.

The 2014 World Cup qualifiers are fast-approaching, and Rongen and the players go through ups and downs … and we do discover what is contributing to Rongen’s bitterness. Not surprisingly, the Samoan culture helps him every bit as much as he helps the team. Most poignant is the arc of Jaiyah (played by Kaimana), a member of the fa’afafine community as a trans person … again, based on a real-life person.

Supporting work is provided by Rhys Darby (so good in “Flight of the Conchords”), Luke Hemsworth, Angus Sampson, and Kaitlyn Dever. The best (and obvious) comparisons are THE BAD NEWS BEARS and THE MIGHTY DUCKS, only this time it’s grown-ups rather than kids. An argument can be made (and I would) that Fassbender is miscast, but he’s so talented, it doesn’t hurt the film much. Sure, the story structure is a bit weak, as is the character development, however the film is quitey entertaining, as Waititi finds the humor without being offensive or condescending.

Opens in theaters on November 17, 2023

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Posted by David Ferguson

MAY DECEMBER (2023)

November 16, 2023

Greetings again from the darkness. Contentedly, most us live our lives in a manner that would never be worthy of tabloid headlines. Not so for Gracie in this psychologically complex new film from expert director Todd Haynes (FAR FROM HEAVEN, 2002) and writers Samy Burch and Alex Mechanik. Early on, Haynes shows us those tabloids featuring Gracie’s scandal following her seduction of 7th grader Joe in the stock room of the local pet store. She was 36 years old, and he was 13. Soon after, Gracie went to prison, where she bore their first child.

The story picks up 24 years later as Gracie and Joe are married, and their second and third children, twins Mary (Elizabeth Yu) and Charlie (Gabriel Chung), are graduating high school and preparing to ship off to college. In other words, they are all living a fairly normal life. However, as a harsh reminder that their lives are not actually normal, Elizabeth (Oscar winner Natalie Portman) arrives at their Savannah home to research her role as Gracie in an upcoming indie film about the scandal.

Oscar winner Julianne Moore plays Gracie, in her fourth collaboration with director Haynes. Charles Melton (THE SUN IS ALSO A STAR, 2019) plays Joe, who is now the same age as Elizabeth, as well as the kids from Gracie’s first marriage. Elizabeth is polite and apologetic as she initially treads carefully in asking probing questions of the family and their friends. Her approach generates some awkward moments, and although Gracie seems to hold firmly to her did-nothing-wrong stance, it’s Joe who begins to question things … mimicking the slow development of the Monarch butterflies he breeds.

Perhaps the film’s best sequence occurs when actress Elizabeth shows up for a Q&A with Mary and Charlie’s class. When the question gets a bit risqué, Elizabeth’s answer borders on inappropriate, and is an honest depiction of the fine line between acting and reality. Back at the house, Elizabeth’s questions raise previously unspoken doubts, as well as the ongoing impact of the scandal … not the least of which are periodic postal deliveries of excrement denoting some of the public’s view of a female predator.

The similarities to the true-life story of Mary Kay Letourneau are inescapable, though a twist here is that Gracie and Joe’s recollection of how things started are not necessarily in sync. Savannah is always a character unto itself, and the accompanying music is eerily spot on … including the repurposing of Michel Legrand’s score from THE GO-BETWEEN (1971). The three lead actors (Ms. Portman, Ms. Moore, Mr. Melton) are terrific, and director Haynes has delivered yet another complex movie that gives the appearance of simplicity due to how beautifully it’s done.

Opens in select theaters on November 17, 2023 and streams on Netflix beginning December 1, 2023

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Posted by David Ferguson

THE STONES AND BRIAN JONES (2023, doc)

November 16, 2023

Greetings again from the darkness. Nick Broomfield has been making documentaries for nearly 50 years. The list of subjects is quite diverse, yet his interest in musicians seems to recur periodically, but even in these, his focus is mainly on the person rather than the notes on the scale or the performances on stage. A perfect example is his 2019 doc, MARIANNE & LEONARD: WORDS OF LOVE. His latest on Brian Jones again fits the description.

Brian Jones formed The Rolling Stones in 1962 as a British Blues Band. Here we are more than 60 years later and in 2023, the band has recently released a new album and single … yet very few remember or even know the name Brian Jones. Director Broomfield sets out to tell the story of this enigmatic and talented musician who was ultimately kicked out of his dream band, leading to his much-too-young death shortly after. On the surface it’s a tragic rock ‘n roll story, but deep down, it’s the story of Jones’ personality and substance abuse.

Former Rolling Stones’ bassist Bill Wyman is featured here and provides a great deal of backstory. For more on Wyman, I recommend the 2019 documentary, THE QUIET ONE, which portrays his obsessive attention to collections and history. Alongside Wyman’s input, there is archival footage from Mick Jagger, Keith Richards, Charlie Watts, Marianne Faithfull, and Eric Burdon. Even the older interviews and clips help us understand Brian Jones’ difficulty as the band evolved from blues to rock. We also learn more about his ability to father kids at the level of an NBA player. But what really strikes is his problems stemming from an abuse of alcohol and drugs (and women).

Andrew Loog Oldham pushed the band towards commercial success with rock ‘n roll and away from Brian’s beloved blues. So he lost his position as band manager and his preferred style of music, as Mick Jagger’s on stage persona took over and Jagger/Richards compositions filled a role that Brian couldn’t. He was fired from the band after the “Let it Bleed” album and prior to the band’s next U.S. tour. It is mentioned that Brian lost the one thing that mattered to him … the band. He lost his life a few weeks later, and kudos to Broomfield for not dwelling on the conspiracy theories around his death.

Included here are interviews and clips of early Stones’ live performances that you’ve likely not seen before. I can’t help but contrast Brian’s story with that of Robert Fripp in the recent documentary I watched on King Crimson. Two original architects of long-standing bands – one lost everything, while the other remained and rebuilt the band a few times. Two musical geniuses with opposite paths.

In theaters November 17, 2023

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Posted by David Ferguson

THE DISAPPEARANCE OF SHERE HITE (2023, doc)

November 16, 2023

Greetings again from the darkness. Little bits of movie trivia are always fun to learn, and this documentary throws out a doozy. I must be late to the party because I had no idea Shere Hite was the model for the Bond girls on the poster for DIAMONDS ARE FOREVER (1971), the James Bond film starring James Bond and Jill St. John. More people surely know Shere Hite as the writer of the groundbreaking best-selling book, “The Hite Report on Female Sexuality”, the 600-page tome first published in 1976 that inspired much discussion and debate.

Documentarian Nicole Newnham serves up a remarkably detailed and encompassing look at Ms. Hite and the impact of her writings and interviews. She opens with a clip from a 1976 interview author Hite gave, and inserts a clip of Hite’s commentary in 1994 while re-watching her own interview nearly 20 years later. Throughout the film, we see significant archival footage of Hite appearing on talk shows and at other venues, and actress Dakota Johnson recites some of Hite’s written comments and observations.

Hite faced constant criticism of her writing and was forced to defend her research at every turn. Was her questionnaire biased? Was it even scientific? The label of ‘sexologist’ was ridiculed by many, despite her approach of expounding on The Kinsey Report from years earlier. What began as a frowned-upon graduate school thesis, grew into a cultural phenomenon and made Shere Hite a celebrity … something that her modeling career never did, despite posing for Playboy and numerous paperback covers for romantic novels.

Hite faced the backlash. She even appeared on Oprah’s show in front of a hostile male-only audience that belittled her and tried to discredit much of her work. To her credit, Hite followed with other books, and only wore down for the criticism after many years – leading her to ultimately renounce her U.S. citizenship and move out of the country.

Regardless of one’s thoughts about Hite or her writings, she sold over 20 million books, and her most popular is listed as the 30th best selling book of all-time. She was certainly a trail blazer and inspired discussion and debate on what had been a previously taboo topic. Newnham’s documentary provides a fitting retrospective to the late Shere Hite.

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Posted by David Ferguson

MEDICINE MAN: THE STAN BROCK STORY (2023, doc)

November 13, 2023

Greetings again from the darkness. You know how an overachiever can make you feel like a worthless slug? Well, that’s nothing compared to how you’ll likely view yourself once you learn the story of Stan Brock. If you recognize the name, it’s likely due to the 31 episodes of “Mutual of Omaha’s Wild Kingdom” he co-hosted with the legendary Marlin Perkins. His matinee idol good looks were right at home whether he was exploring in the desert or wrestling an Anaconda in the Amazon. Documentarian Paul Michael Angell gives us Brock’s backstory, but the focus here is on the amazing things he accomplished after his animal corralling days.

The film was completed in 2020, two years after Mr. Brock passed away. Despite playing some festivals, the film is just now gaining some well-deserved traction. We learn of his childhood, and how at age 17 he began working at the Dadanawa Ranch in British Guiana (now Guyana). He was a barefoot vaquero (cowboy), and clearly excelled in the no-frills close-to-nature environment, as he was supervising men much older than he. He later co-hosted the TV series, made three movies, wrote three books, and ultimately sold his belongings and founded RAM – Remote Area Medical in 1985.

Much of the film details RAM operations and how Brock coordinates the operation, along with the assistance of the organization’s long-time director, Karen Wilson. We are along for some of the “expeditions”. The first one was in Mexico, and Brock’s last was number 957, although RAM has since far exceeded that number. Providing free medical treatment for folks with no insurance and little money means things like dental work and necessary x-rays can be handled, and if you doubt how crucial this service is, we learn that people in desperate need of tests and care will camp out for three days in hopes of receiving treatment.

Mr. Brock was not a medical professional, and he certainly wasn’t a glory-hound. In fact, he admits to poor social skills (he had to learn to hug) and a distaste for asking people for money. He gives credit to the tens of thousands of volunteers who made RAM a success. We do learn that many states have laws preventing doctors from crossing state lines to provide free medical care, and Mr. Brock succeeded in convincing twelve states to change this law so that more doctors could help.

Stan Brock dedicated the last phase of his life to providing healthcare to those who needed it most. He did this despite his own personal health issues. His inspirational legacy is a shining example of community service and altruism. His was selfishness in a world that barely recognizes it … well, except for those most appreciative folks (over one million now) who received treatment. If we are to idolize heroes, it should be people like Stan Brock who sacrificed so much for so many – even if his efforts make us feel like a worthless slug.

Fathom Events for one night only on November 14, 2023

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Posted by David Ferguson

THE HOLDOVERS (2023)

November 9, 2023

Greetings again from the darkness. We’ve all had that teacher. You know, the one with an evil streak who just seemed to thrive on making students miserable. Throw in a staff and administrators who feel the same way, and the casting choice for the teacher becomes obvious.  Enter the always great and perfectly curmudgeonly Paul Giamatti. This is the first time Giamatti has worked with two-time Oscar winner Alexander Payne since their brilliant SIDEWAYS (2004), and it’s clear these two share a wavelength for comedy and drama, even in throwback form.

Paul Hunham (Giamatti) is a long-time professor at Barton Academy, an all-boys private prep school located in the snowy northeast. It’s December 1970, and an early scene exemplifies how he relishes the failing grades he bestows upon desperate students so afraid to disappoint their rich parents. In the final class before the holiday break, the student-teacher banter doesn’t go so well for the boys, and they head to break with an extra workload. Hunham is easily manipulated into babysitting the titular holdovers – students stuck at school over the break, while most others spend time with family, often on exotic trips.

Initially there are five students, but after a certain development, what remains is Hunham, smart but troubled Angus Tully (first timer Dominic Sessa) and the school’s head cook, Mary Lamb (a divine Da’Vine Joy Randolph, DOLEMITE IS MY NAME, 2019). Hunham is perpetually annoyed and has a weakness for booze. Angus is frustrated that his mother left him at school so she could travel with her new husband, and Mary is grieving over her son who was killed in Vietnam. Watching these three struggle to bond is a case study in psychology, yet of course we know they will ultimately form a family of misfits, depending on each other to offset the loneliness.

The genius tagline for the film is “Discomfort and Joy”, and initially the first overshadows the latter. Isolated from the world in their own way, the three characters begin to influence each other, showing broken/wounded people need and deserve love and friendship as much as anyone else. “Entre nous” (just between us) becomes a kind of calling card for this trio, and a Christmas party thrown by an eternally optimistic staffer (Carrie Preston) is a turning point.

Giamatti is master of this material and only goes over the top a time or two. It’s painful and humorous each time he is so anxious to infuse his breadth of ancient civilization facts into even the most mundane conversations. Newcomer Sessa possesses star potential and nails a complex first role. Da’Vine Joy Randolph’s Mary is the heart of the film, doling out advice to Hunham and comfort to Angus. Depression is a vein running through these characters and it’s acknowledged, though not the focus.

This is Alexander Payne’s first film since the disappointing DOWNSIZING (2017), but his brilliance has been proven in ABOUT SCHMIDT (2002), SIDEWAYS (2004), THE DESCENDANTS (2011), and NEBRASKA (2013). This time he’s working from a screenplay by successful TV writer, David Hemingson, and though there is never much suspense about where the story or characters are headed, we enjoy the ride immensely. Cinematography from Eigil Byrld (IN BRUGES, 2008), perfectly complements the emotions (shot on digital, graininess added in post), and the soundtrack is period-specific, including the great Cat Stevens. Pay attention to the retro opening credits and logos, and enjoy a smart and funny film (an Alexander Payne trademark).

Opening in theaters November 10, 2023

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Posted by David Ferguson

YOU WERE MY FIRST BOYFRIEND (2023, doc)

November 9, 2023

Greetings again from the darkness. Goodness, this review has been so difficult to write. Not because of anything wrong with how this documentary was made or filmed – in fact, from a technical standpoint, it is very well done. Rather it was due to my personal opinions and bias, which were what I had to fight against while watching.

Filmmaker Cecilia Aldarando makes the decision to relive her 1990’s adolescence, and to film the proceedings. The tagline reads, “She’s doing high school again”, yet it’s really more than that. This plays like a deep therapy project centered around her admission that she didn’t fit in, and to this day remains scarred by memories of PE class, crushes on boys, school bullies, and prom night. Ms. Aldarando still carries the anxiety of not being admitted to the “in” group of girls from whom she so desperately wanted acceptance.

Timed to coordinate with her high school reunion at the Country Club in Winter Park, Florida, there is actually very little footage shown from the event. Instead, much of the time is spent on reenactments designed to recreate painful and vivid memories. Cecilia also meets face-to-face with her high school crush, Joel, who barely remembers her and had no idea that she was silently pining for him. She even reads him a poem from her 1994 journal, making the encounter that much more awkward.

Bad memories are a fact of life after high school, and most of us learn to live with these and move on. Cecilia Aldarando needs closure, and one of those horrific memories is recreated by selecting young actors to help re-live a night at camp where, Jo Anne, the one girl that was treated worse than her, was humiliated by the same group of girls Cecilia so wanted to be like. Making this segment more impactful is that she had tracked down the adult Jo Anne to provide input and observe. It’s a tough scene for us to watch, and especially tough for Jo Anne.

Cecilia even includes her real-life partner, Gabe, as well as her older sister in reenactments, some of which work better than others. The Tori Amos video segment seemed to drag on longer than it should have, and the “My So Called Life” piece was a bit creepy. Cecilia’s long ago best friend Caroline is discussed frequently, and it’s clear that Cecilia views her own failures as a friend as a critical element in telling her story. This is likely the most revealing aspect of the process for the director.

“Hating” one’s self during the teenage years is not uncommon. What we hope is uncommon is the need two decades later to address the misery of those years. Cecilia’s sister asks the question that needs to be asked: why does she give the past so much power? The film was co-directed and edited by Sarah Enid Hagey, which was necessary due to Cecilia being on screen for most of the film. It is interesting to note the role movies played in childhood, and how so many of her crushes were directly from period pieces (aka unattainable). Home movies are included here as well, and Cecilia admits the desire and need to exorcise those adolescent demons. We are also left questioning the accuracy of those long-ago memories, which here are explained as bad memories containing specific details, while good memories are a montage of the times. Here’s hoping most of us dwell on the montages.

Available on HBO beginning November 8, 2023, and streaming on Max soon after.

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Posted by David Ferguson

RUSTIN (2023)

November 4, 2023

Greetings again from the darkness. Organizing an event is often tedious and frustrating and stressful. Rarely is it entertaining. Such is the challenge faced by director George C Wolfe (MA RAINEY’S BLACK BOTTOM, 2020) and co-writers Justin Breece and Dustin Lance Black (Oscar winner for MILK, 2007). Take that and add a central character that most have never heard of, and the challenge seems questionable, if not undesirable. What happens if that main character has more charisma than the beloved Reverand Martin Luther King? Well, that’s something we can work with.

Colman Domingo (IF BEALE STREET COULD TALK) stars as Bayard Rustin, the gay, black, outspoken civil rights activist and organizer … and one-time communist … who coordinated efforts for the 1963 March on Washington for Freedom and Jobs. If that doesn’t sound familiar, it’s the official name of the event where MLK gave his “I Have a Dream” speech. That day is remembered for King’s speech, but the event never would have occurred without the herculean efforts behind the scenes by Mr. Rustin and his team. Since it wasn’t easy, there is a story worth telling.

Director Wolfe is a Tony Award winner and his stage roots are on full display. Many scenes play like live theater, and the performances are elevated to the point of over-dramatizing. There is nothing subtle about Bayard Rustin and nothing subtle about the film, with the exception of Ami Ameen as MLK. By watching this, we wonder how King ever became the leader of a movement – and this after an early scene where Rustin urges him to “own your power”. It’s a power we don’t see here, yet understand it existed in real life. The film opens by reminding that it was 1954 when the Supreme Court ruled segregation was illegal.

Most of what we see occurs in 1963, a couple of years after King and Rustin had a falling out. When the friendship and partnership are re-established for the purposes of the march, it brings together the previously disparate organizations (and their egos) that had been striving independently for power. One in particular was the NAACP, with its director, Roy Wilkins, played here by Chris Rock. The behind-the-scenes bickering and posturing is one of the film’s strengths. Other players of interest here include A Philip Randolph (Glynn Turman), Anna Hedgeman (CCH Pounder), Representative Adam Clayton Powell (a properly pompous Jeffrey Wright), and Elias Taylor (Johnny Ramey) as an attraction and distraction for Rustin.

The goal of 100,000 peaceful attendees initially seemed nearly impossible, and of course, history tells us the final number was closer to 250,000. This group of activists not only faced opposition from white establishment, including (according to this) the Kennedy brothers, but there was also an incredibly tight timeline to work with. It’s the group of dedicated and passionate volunteers that go to the heart of a grassroots movement, and these folks are given their due. The film’s weakness is in its attempt to balance the movement with the scandals surrounding Rustin’s homosexuality. That angle simply doesn’t work as well. As viewers, we are bombarded with monologues galore and stagey acting and scenes, but at the center is a man whose story should be told.

https://www.netflix.com/title/81111528

In select theaters November 3, 2023 and on Netflix beginning November 17, 2023

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Posted by David Ferguson

PRISCILLA (2023)

November 3, 2023

Greetings again from the darkness. It was less than 18 months ago when Baz Luhrman’s Oscar nominated ELVIS hit theaters and we were admiring Austin Butler’s performance. Where that movie was glitzy and loud and centered on Elvis and Col Tom Parker, this current film from writer-director Sofia Coppola (Oscar winner for LOST IN TRANSLATION, 2003) offers a quieter, more intimate glimpse at the relationship between Elvis and Priscilla through her eyes.

Ms. Coppola is a detailed filmmaker who excels when dealing with personal isolation, and Priscilla makes a fitting and worthy subject. The screenplay by Coppola and Sandra Harmon is adapted from Priscilla Presley’s 1985 memoir, “Elvis and Me”, a book that also served as the basis for the 1988 TV movie of the same name (screenplay by Ms. Harmon). Although Elvis Presley Enterprises was not involved with this film (explaining the lack of familiar Elvis music), Priscilla Presley did serve as Executive Producer (EP, ironically), so her memories and preferences likely play a key role in much of what we see here.

Relative newcomer Cailee Spaeny (“Mare of Easttown”) delivers an outstanding performance – from 14-year-old Priscilla Beaulieu in 1959 to Elvis’s bride in 1967 through their divorce in 1973. Ms. Spaeny perfectly captures the wide-eyed innocence of a young fan, the frustrations of a young woman being controlled and isolated, and finally, a grown woman standing up for her own freedom. Playing Elvis through this same time period is Jacob Elordi (“Euphoria”), and he is effective in mimicking the familiar mannerisms and speaking voice. Physically, he towers over the diminutive Spaeny, which although not historically accurate, does add a dimension to the couple’s disconnect. As for the age difference, the two actors are close in age, but are able to portray the actual 10 year age gap between Elvis and Priscilla.

The creep factor is ever-present as 24-year-old Elvis, overseas on military duty, shows an elevated interest in 14-year-old Priscilla Beaulieu, whose military father is also stationed in Germany. The naivety of their first meetings is captured as Elvis’ beloved mother has recently passed away. Both are lonely and away from home, and Elvis simply finds her easy to talk to. It’s hindsight to question how parents could allow the situation to escalate, but anyone who has parented a teenager understands the challenges. When Priscilla turns 17, she moves into Graceland, yet Elvis insists the intimacy wait until after they are married.

At the core of the story is Priscilla’s solitude and loneliness. She is confined to Graceland and requested to “keep the home fires burning” as Elvis marches off to the stream of movies set up by a never-seen-here Col Tom Parker. Keeping Parker on the phone allows Priscilla’s world to remain even smaller despite being married to the biggest star on the planet. Doses of Elvis and the Memphis Mafia occur between extended stretches alone with Elvis’ grandmother and personal cook. She is isolated from the real world and clearly controlled by Elvis, who was only partially present.

When Priscilla and Elvis are together, the strain is apparent. Prescription drugs and sexual tension are interrupted by periodic bursts of Elvis anger, followed by a sincere apology. It’s here where we realize he’s more of a kid than she is … emotionally stunted in what makes a relationship (it takes more than the tabloid reports of movie set flings Priscilla reads about). This is also evident as she watches him go through many phases in search of himself – martial arts, bible study, eastern philosophy, etc. In the family photo shoot with Lisa Marie, body language tells the whole story. Priscilla’s fling with karate instructor Mike Stone is teased, but not dwelled upon. We realize that Priscilla was the one thing in life he felt he could control. By the end, one of them has escaped the cage, while the other remains captive.

Voted ‘Best Film’ at this year’s Venice Film Festival, it also reminds us what a terrific filmmaker Sofia Coppola can be. Working with a limited budget, she and her team are so proficient, it never seems as if they cut corners. Cinematographer Philipe Le Sourd and Editor Sarah Flack manage to sustain the pacing despite an inordinate amount of time Priscilla spends on her own at Graceland. Production Designer Tamara Deverell recreated the recognizable interior of Graceland, while the work of Costume Designer Stacey Battat guides us through the fashion changes that occurred over these 14 years. The film recreates some of the iconic images and moments that are ingrained in our memory banks, and director Coppola chooses to end with Dolly Parton’s “I Will Always Love You”, supposedly the song Elvis sang to Priscilla as they finalized the divorce.

Opens in theaters on November 3, 2023

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4 Comments | Drama | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

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