Everyone knows about Elvis Presley. Whether it is because you learned about his impact on the music industry in history class or because his stardom had a chokehold on you or your grandparents, his story is easily accessible and never forgotten. Sofia Coppola, director of the newly released movie “Priscilla”, shifts the overly common narrative off Elvis and onto Priscilla Presley, a woman who was overlooked throughout Elvis’ rise to fame and in the aftermath as well.
“Priscilla” is based on Priscilla Presley’s 1985 “Elvis and Me” memoir, a book in which Priscilla recounts her experience of being taken into Elvis’s world at the young age of fourteen. Coppola displays the completely uneven power dynamics of the relationship, while also showing how lonely it is for Priscilla stepping into a life she has no control or agency over (with Cailee Spaeny playing the role of Priscilla and Jacob Elordi playing the role of Elvis). In her films (Marie Antoinette, Lost in Translation, The Virgin Suicides) Coppola usually puts the audience in the “girl’s shoes” – a perspective that is routinely pushed to the side or told superficially in a historically male-dominated industry.
“I felt like my role was just to explain her experience and always go through [Priscilla’s] point of view,” Coppola says of the film. “I thought [of] all the things we have to go through as a teenager [that] she was going through while she was living in Graceland with Elvis.”
Furthermore, the soundtrack is another unforgettable experience throughout the movie. As I sat in my seat at the AMC theater watching Priscilla on the big screen, I couldn’t help but sway along to the fantastic music paired with the classic Coppola aesthetic visuals which are rich in period details. As this film was about Priscilla and not Elvis’s artistry, there are no Elvis songs featured – leaving more room for the viewer to notice his behavior as a human being and not get caught up in his talent as a famous public figure. The lush soundtrack includes the music of Frankie Avalon, Brenda Lee, The Righteous Brothers, The Soul Stirrers and The Sons of Raphael. The opening credits are paired with a 1980 Ramones cover of Tommy James’ song , “Crimson and Clover” plays later on capturing the couple’s infatuation, and many more of Coppola’s usual anachronistic song selections are trickled in throughout the film.
Hair and costume design cannot be overlooked when viewing the film (with Stacey Battat on costume design, who had twice before partnered with Coppola). The evolution of Priscilla’s style demonstrated throughout the film, also showcases Priscilla’s development out of childhood (with more childlike silhouettes); into the height of Elvis’ fame (with big hair, intense eye makeup and more sophisticated clothing, Priscilla essentially becomes a doll for Elvis to design); and finally into her own sense of style (showcased by a 70s inspired straightened look). Battat’s costume design displays not only Priscilla’s evolution from a 14 to 27-year-old, but also plays into the way Elvis used fashion as a way to control her.
Die-hard Elvis fans may not like how Coppola displayed his character. However, his almost satirical behavior at times only reinforces the fact that his fame gave him and his actions leeway that many other people do not get. And, if people do question the historical accuracy of Coppola’s depictions, Priscilla Presley was part of this movie’s journey throughout the entire production time – she even appeared at the Venice Film Festival when its first appearance on the big screen took place. Coppola even said, “When Priscilla first saw the final movie, the first thing she said was, ‘Cailee really — that’s how I felt.’ She really expressed that. And she couldn’t believe Jacob’s voice, she said it just sounded just so much like Elvis, so that was so gratifying to hear that from her.”
The end of the film portrays the little autonomy Priscilla had, courageously removing herself from her toxic first love and transformation into adulthood. The final shot showcases her solemnly driving away from the Memphis mansion alone, accompanied by a Dolly Parton tune.
Some say the film makes a nice cultural companion piece to “Barbie” from earlier in the year with another expression of female autonomy after a long period of captivity.
