Sofia Coppola's Priscilla makes a splendid double-A-side with Baz Luhrmann's Elvis, feeling its way through Priscilla Presley's story.
. Is Graceland, the Memphis home of Elvis Presley, our American Versailles? At least Priscilla Beaulieu is eventually whisked there by choice, though perhaps it amounts to a similar parental neglect for her well-being. When Priscilla, at the tender age of 14, is spotted at an American military diner in Germany and invited to a party at Presley’s home, her parents hesitate to grant their permission.
Though older, Priscilla is still just a teenager at this point – she attends Catholic school near Graceland to receive her high school diploma. She and Elvis do not marry, or sleep together. Indeed, more casual students of Elvis lore may wonder if they’ve missed the marriage entirely, if it has been lost in the fluid slipstream of time that Coppola depicts. Nope: He proposed in 1966, and they married in 1967, nearly a decade after their first meeting, and it is shown on screen.
Elordi would appear to be performing at a major disadvantage, playing Elvis so soon after Austin Butler embodied the singer with impressive electricity and stage presence. Instead, his Elvis feeling like a charismatic imitation is just about perfect for the role as conceived here, both larger-than-life in aura and sorta underwhelming in the day-to-day. Throughout these bits and pieces of odd domestic life, Spaeny, is conducting a small miracle.
As far as the actual music: Coppola does not use any of the famous Presley songs in her film, though it is, like so much of her filmography, much enhanced by her soundtrack choices. At one point, when Priscilla and Elvis are still in Germany, “Crimson and Clover” plays over one of their meetings, then carries over to the next day, as Priscilla loses herself in private reverie, walking down her school hallway.
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