Sofia Coppola’s biopic “Priscilla” expanded to 1,344 theaters last weekend following promising debuts in New York City and Los Angeles. Naturally, Woman on the Verge was there. As an Elvis fan, though, it wasn’t easy.
Coppola adapted her script from Priscilla Presley’s 1985 memoir “Elvis and Me.” While only on the third chapter, already I understand two things about the book seemingly at odds with each other.
First, different editions of “Elvis and Me” include the subtitle “A love story that could have been written only by the woman who lived it” or “The true story of the love between Priscilla Presley and the King of Rock N’ Roll.” In other words, love is a theme both on the page and on-screen.
Second, reports of Elvis’ philandering are not new to me. But the Vegas hotel room scene toward the end of the movie corresponds to a passage in Presley’s book that bears an uncanny resemblance to Ivana Trump’s old spousal rape allegation. Suffice it to say, while Presley never accused Elvis of marital rape, this brief scene is nevertheless distressing.
Honestly, Priscilla’s entire story made me uncomfortable. For example, the film makes clear that hers was an arranged marriage. Planned by her parents and his manager, it may also be the only wedding ever to feature two people posing with his and hers matching jet black pompadours.
But after an adolescence cut short and the pangs of first love brought fame, followed by an eight-year courtship under quasi-house arrest conditions, motherhood and divorce came even more quickly.
Of course, I certainly appreciate Presley’s desire to tell her own story and serve as executive producer. And after last summer’s blockbuster “Elvis,” “Priscilla” does lend a certain Rashomon effect to the broader legacy of this fairytale couple.
“AN INSTANT CLASSIC.” (@RollingStone)
“DANGEROUSLY GOOD.” (@ABCNews)
“★★★★ NOTHING CAN QUITE PREPARE YOU.” (@Telegraph)#PriscillaMovie is now playing in theaters everywhere 🩵 Get tickets now — https://t.co/TEg6Z1Xll4 pic.twitter.com/klQlOJkweI— Priscilla (@PriscillaMovie) November 3, 2023
It also totally fails the Bechdel test, but will work if you liked “Jackie,” “Spencer,” or even “The Eyes of Tammy Faye.” I mention this cinematic trio because together they form an obvious pattern that “Priscilla” evokes. Ripped from 1987’s New York Times Best Sellers’ list, “Women Who Love Too Much” is the Bible of co-dependency; it came out two years after “Elvis and Me.”
The premiere of “Priscilla” arrives just in time as Oscar season heats up. Sofia Coppola’s biopic treatment could compete for adapted screenplay, naturally. Playing Elvis, Jacob Elordi’s whole Timothée Chalemet vibe could also introduce a strange new category.
With regard to Cailee Spaeny’s well-studied breakout performance as the titular character, somehow I still think Annette Bening has a better chance of taking this year’s prize for Best Actress. At the same time, I am thrilled that Spaeny won Best Actress at the 80th Venice International Film Festival.
In closing, don’t catch “Priscilla” if you want to hear any Elvis tunes, because you won’t. But grab a tissue when the Queen of Country croons “I Will Always Love You” during the closing credits.
Is there a more perfect tribute to Presley’s deepest feelings for the King of Rock N’ Roll? Obviously not. And as sung by Parton, it is a nice way to keep it all Tennessean, with love from Dollywood to Graceland, from Priscilla to Elvis, and from Sofia Coppola to audiences everywhere.
