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
Posted by David Ferguson 
Greetings again from the darkness. Fans of filmmaker Guillermo del Toro anxiously await his new projects knowing full well that each will have a stylish atmosphere, a certain fantastical creepiness, and characters a bit outside the norm (whatever normal is these days). Beyond that, the mystique derives from whatever new approach the extraordinarily talented filmmaker will surprise us with this time. For his first follow-up to his Oscar winning THE SHAPE OF WATER (2017), del Toro and co-writer Kim Morgan have adapted the 1947 cult noir classic by director Edmund Goulding (starring Tyrone Power), which itself was adapted from William Lindsay Gresham’s 1946 novel.
Movie Reviews from the Dark 