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Lead Critic for the site, as well as serving as an editor when needed.
Biopics are an interesting genre within cinema. There are too many to count and they’re usually terrific or downright horrible – there’s no in-between. With the year beginning to wind down, it seems the latter half of 2023 has offered the best selection of these films. From Christopher Nolan’s summer option, to Martin Scorsese’s latest film, and the forthcoming Ridley Scott-helmed Napoleon, Sofia Coppola has given a terrific take on the romance of Elvis and Priscilla Presley.
Priscilla doesn’t necessarily add anything to the already much-known story of The King and Priscilla (also serving as an executive producer), but the story is much more well drawn out here. Cailee Spaeny and Jacob Elordi (Euphoria, Saltburn) have excellent chemistry on screen, and Sofia Coppola directs what feels like an ever-evolving waltz between the two.
Coppola’s writing and, more so, her direction feel like the acute joining of documentary filmmaking and traditional filmmaking in the best of ways. The camera feels more like a fly on the wall rather than a portrait for the story to progress and be seen. Spaeny is excellent in the title role, and is oftentimes enchanting on screen, with little dialogue required.
What a Real Fairy Tale Can Be
Priscilla doesn’t blow the audience away but offers a delightful insight into one of the most famous romances ever. While Spaeny and Elordi have great chemistry, at times he feels overshot with his performance. There is one scene in particular that feels like nearly a copy of a scene from last year’s Elvis, and there were bits of dialogue here and there that felt out of place. Elordi doesn’t completely fade into the role quite like Austin Butler did, but he is convincing enough as The King, and overall shines best on screen during scenes with Spaeny.
Spaeny’s Priscilla is a woman of few words, but she is never afraid to move mountains on her own. Coppola’s take on the character feels like a great exercise in subtlety too. The film almost sheds away the “celebrity” and iconic-ness of Elvis, and even Graceland, and knocks them down to their true states because it’s demanded of by the main character, Priscilla.
While it almost feels like a Shakespearean tale, Priscilla displays a great story of what a fairy tale-esque romance could even be when the girl meets the world’s most famous rock star. The film almost has Priscilla seen as a Cinderella-type character, a fascination. It’s perhaps one of the most interesting and lighthearted stories told this year; we can all relate in some form.
Technicalities
The technical elements on display in Priscilla are also some of the best this year has to offer. The editing, by Sarah Flack, is very quick and clean – some cuts might make some viewers scratch their heads, as the cuts are more unexpected than anything else. The editing does really hold the film together though. It feels like Act Two is kind of drowning the audience but it comes back together by Act Three. Philippe Le Sourd’s cinematography is quite enjoyable as well. His camerawork makes the more extremely calm moments of the film stand out when gracing the screen.
Additionally, Tamara Deverell’s production design, and costume design by Stacey Battat, are some of the best on display in cinema this year. Deverell’s set pieces really come to life – especially Graceland. These sets and Battat’s costumes really make the film stand out during its slower, less dialogue-filled moments too.
Final Thoughts
Coppola’s adaptation of Presley’s novel Elvis and Me (co-written with Sandra Harmon) is a worthwhile addition to the biopic conversation. Priscilla offers an enchanting insight into the relationship of Elvis and Priscilla Presley and doesn’t feel the need to hold back on the couple’s harsher moments as well – something I appreciated in terms of the authenticity of relationships.
Priscilla isn’t as dense a film as Elvis or Killers of the Flower Moon, but it’s worth just the same. Coppola handled the story with the same grace and care as anyone would expect, and cast a perfect actress in Spaeny to bring the story to life; she doesn’t let the audience be deceived by the celebrity and fame that came with the relationship at hand. She doesn’t try all that hard and it really, really worked great here.
4.5/5 stars.
Sofia Coppola’s Priscilla is now playing in theatres everywhere!
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Lead Critic for the site, as well as serving as an editor when needed.
