Dreamily gazing at the album covers of was not, statistically speaking, a rare habit among American teen girls in the late 1950s and early BԪַ60s.
But for teenage fantasy became a strange and surreal reality. Sofia CoppolaBԪַs starring captures all the dreaminess, the absurdity and, finally, the nightmare of falling in love with Elvis.
Priscilla was just 14 years-old BԪַ a 9th grader BԪַ when she first met him. It was 1959. She was living in West Germany, where her Air Force officer stepfather was stationed. The swoony early scenes of CoppolaBԪַs film find a solitary Priscilla sipping soda in a Navy base diner while a cover of Frankie AvalonBԪַs BԪַVenusBԪַ (BԪַVenus, make her fair / A lovely girl with sunlight in her hairBԪַ) plays around her.
A man approaches and asks if she likes Elvis. Of course she does. Would she like to meet him? Um, what? After some negotiations with her parents, Priscilla is sitting there on the sofa at a small party when the King of Rock BԪַnBԪַ Roll, himself (Jacob Elordi), strolls down the stairs. Big, big sigh.
Coppola, the writer-director of BԪַThe Virgin Suicides,BԪַ BԪַLost in TranslationBԪַ and BԪַSomewhere,BԪַ has always been innately attuned to the forming identities, swelling desires and intimate revelations of young women. In the story of Priscilla Presley (the film is based on her 1985 memoir, ), Coppola has found a tale tailor-made for her delicately perceptive style of filmmaking.
As a movie, BԪַPriscillaBԪַ is the diametric opposite of Where was lurid and careening, CoppolaBԪַs is muted and textured. Her film is a kind of fairy tale that turns claustrophobic and cautionary.
BԪַPriscillaBԪַ is, at least at first, quite funny. After Priscilla initially catches ElvisBԪַ eye at that party, sheBԪַs back at school learning about the food groups. How could anyone possibly stomach that? Or when, after Elvis hasnBԪַt called following his stint in the military, PriscillaBԪַs mother asks her if there arenBԪַt any boys in school she might be interested in, instead. Priscilla doesnBԪַt need to say anything; just the image of lining up your average 9th grade boy against Elvis Presley is enough.
Yet their courtship continues in somewhat traditional fashion. Elvis, played with relaxed magnetism by Elordi (BԪַThe Kissing Booth,BԪַ BԪַSaltburnBԪַ), is drawn to Priscilla because she reminds him of home; itBԪַs clear her purity is part of her appeal to him. ItBԪַs a long time before they have sex, though her youth remains tacitly problematic. BԪַWow, sheBԪַs young,BԪַ says one woman watching Elvis lead Priscilla upstairs. BԪַLike a little girl.BԪַ
Their life together is initially sweet if deranged. Priscilla drifts through a dream world even if ElvisBԪַ extremes are glaring to us. His bedroom in Graceland is comically gaudy. BԪַI got this for you,BԪַ we hear Elvis say kindly, before a handgun is handed over.
No Presley songs play in BԪַPriscilla.BԪַ (While Priscilla Presley is an executive producer, the Elvis estate didnBԪַt participate in the film.) But it does share a telling track ( ) with Terence MalickBԪַs BԪַBadlands,BԪַ another movie about an underage teen girl (Sissy Spacek) who throws her life in with a charismatic drifter with matinee-idol looks (Martin Sheen).
And like they do for Holly in BԪַBadlands,BԪַ things turn increasingly dark for Priscilla. Elvis treats her like a doll he keeps at home while he goes in and out. BԪַItBԪַs either me or a career, baby,BԪַ he tells her. Coppola, who dedicates the movie to her mother, Eleanor Coppola, has long specialized in gilded cages (BԪַMarie Antoinette,BԪַ BԪַThe Bling RingBԪַ). Graceland turns out to be a prison to Priscilla.
There arenBԪַt many false notes in CoppolaBԪַs richly layered film, handsomely shot by Philippe Le Sourd, with sumptuous production design from Tamara Deverell and fine, toned-down costumes by Stacey Battat.
But BԪַPriscillaBԪַ fades where BԪַElvisBԪַ found its footing. When PresleyBԪַs downturn accelerates in Las Vegas, LuhrmannBԪַs movie swelled with tragedy. In the same time period here, Priscilla awakens. Yet it feels underdeveloped, coming too quickly, in a sudden rush BԪַ albeit a terrific rush, with Dolly Parton playing.
A constant throughout, though, is Spaeny. This is a deft breakthrough performance perfectly poised between youthful fantasy and adult reality.
BԪַP,BԪַ an A24 release, is rated R by the Motion Picture Association for drug use and some language. Running time: 113 minutes. Three stars out of four.
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