Priscilla

Priscilla does really well when it comes to cinematography and direction. There are good shots in the movie and Coppola did an amazing job as director.

However, the screenplay was very disappointing to me. The story feels slow at times and gets into a repetitive cycle after a while: Elvis does something horrible to Priscilla, they fight, Priscilla hesitates to leave him, and finally forgives him for unexplainable reasons. And in the end, when she finally leaves him, we don't know what finally made her make the decision, she just leaves. Moreover, I was expecting to see more of Priscilla's life where Elvis is not a central part of the story, as the title might have suggested, but the film starts when she meets him and ends when he is no longer part of her life.

Apart from that, I think Cailee Spaeny did an incredible job and is the highlight of the movie. I have mixed feelings about Jacob Elordi, at times he felt like the perfect choice for the role, but other times it felt like I was watching his Euphoria character.

The movie is a beautifully decorated but empty box.

Just rather uninteresting, on film terms at least.

It is interesting seeing the film portray a different type of version of Elvis Presley, one that is uncomfortable to watch unfold but one that ought to be told. That's where anything noteworthy I have to say about this release ends, though. As a movie, it's rather boring. I'm not convinced there's enough to be told across a full blown picture, at least not one around 1hr 45mins in length. I will say that Cailee Spaeny puts in a solid display as the titular character, in fairness.

Jacob Elordi as Elvis, in my opinion, isn't a positive to be honest. If I didn't know he was playing Elvis I genuinely wouldn't have guessed he was playing the singer, aside from a few outfits and the twisty bit of hair in his fringe. Accent particularly seemed off to me too, Elordi amusingly (given the director's connection) sounds more like Nicolas Cage (c. 1997, 'Con Air', Cameron Poe) on phone call scenes.

It's competently put together visually at least, though overall I can't honestly say this made a mark on me personally. I don't feel like I learnt anything about 'Priscilla' herself. I doubt I'll remember this one long term, sadly.

When a film seeks to depict the life story of a beloved public figure, it generally works best when it paints a comprehensive portrait of said individual. However, in this biography of the wife of rock icon Elvis Presley, viewers get a picture that seemingly tells only half of the story. Writer-director Sofia Coppola's latest focuses on the years Priscilla Presley (Cailee Spaeny) spent with Elvis (Jacob Elordi). They embark on a sincerely loving relationship that, sadly, falls prey to problems with drugs, firearms, infidelity, prolonged separations and control freak tendencies, conditions - largely initiated by Elvis - that eventually lead to their separation (and at times cause the film to be more about him than her). Regrettably, the choice of this narrative leaves out the many significant personal and professional accomplishments of Priscilla's life on her own, an inspiring story that's completely (and perplexingly) overlooked. As a consequence, viewers are primarily shown a profile of a predominantly subservient character who rarely rebels until she finally somehow musters up the courage to leave (where did that trait come from?), with nothing about the successes that followed. In addition, there are many story threads that feel unresolved or underdeveloped, leaving audiences hanging about what comes from them. To its credit, "Priscilla" is, in several respects, some of the best (though surprisingly most conventional) work that Coppola has produced as a filmmaker, as evidenced in the cinematography and editing and in Elordi's balanced portrayal of Elvis. But, like other of Coppola's efforts, this offering could still use some tidying up in the writing, character development and overall story structure. The wife of a King truly warrants better treatment.

I have been excited to see this for months - finally out on MAX so I went for it - and the first hour was fantastic . They were both very good in their roles and the chemistry( or lack of ) was very well presented . It took the story of the two of them meeting and made it come to life , the filming was interesting and the general vibe felt spot on . The development in this first part for the characters was great and you really felt like you were being set up to be taken somewhere

And then ....

Then all the sudden the second half it's like the character development just stopped , very little connected together or made sense without background knowledge into the story as a whole , and then the last 20 min it was like "oh shoot we have 20 min better finish it " and no one could figure out exactly how .

The jump from being in an abusive relationship to being her own woman was instant and it all felt very juvenile and hallmark in the end .

Worth watching ? Yes for sure . Not great film but really could have been which made it more disappointing.

Early in Sofia Coppola's languid distillation of Priscilla Presley's life with Elvis, she receives a beautifully coiffed and presented gift of a pet poodle. Priscilla (Cailee Spaeny) had recently moved into Graceland when she gets the present. 14 when they met in Germany, Priscilla was still only 17. She coddles the pooch and treats it like a little princess. Coppola (who wrote the screenplay adapted from Priscilla's book) makes a case that Elvis (Jacob Elordi) viewed his then future wife as a type of possession. When the teenager asks for permission to take a part-time job, the musician forbades it saying that he needs her to be available whenever he desires. Like the dog, Priscilla is always to be primped and pampered to its owner's specifications.

One could say that PRISCILLA represents the other side of Baz Luhrman's recent phantasmagorical film ELVIS in both style and POV. That's certainly true in many ways, but it's doubtful that Coppola would have made her movie much differently even if Luhrman's film didn't exist. Phillipe La Sourd's cinematography, Tamara Deverell's Production Design and Stacey Battat's costuming all fit nicely within Coppola's aesthetic. The filmmaker's love of pop music is also fully on display with period songs mixed freely with more recent tunes in a similar vein (the movie begins with The Ramones and fades out with Dolly Parton).

Coppola has rarely been an auteur interested in pure plot and narrative drive. She prefers to soak the viewer into the milieu of her characters. On that level, PRISCILLA has a certain effectiveness. Neither Spaeny nor Elordi are stars, but, their anonymity adds to their relatability. Elordi in particular, faces not only comparisons to Austin Butler's ebullient Oscar nominated performance, but decades of imitators. He humanizes the mythic figure even if, at a certain point, his lack of flash reduces the King of Rock 'N Roll to too much the mere mortal. The elephant in the room is, of course, that Elvis would be considered persona non grata in today's climate. When Priscilla first enters Graceland, Elvis' ever-present entourage are taken aback at how young she looks. Coppola exaggerates the difference by casting actors over a foot apart in height (the real difference was closer to 8"). It does make her look like a little girl (and Spaeny convincingly pulls it off despite being only a year younger than Elordi; Elvis was a decade Priscilla's senior). In Coppola (and Priscilla's) telling, Elvis isn't portrayed as making his young wife into a purely sexual object. He kept her under glass in his misguided notion that he was protecting her. To make her into an idealized good Christian girl and modern Southern belle who his recently deceased mama could have been proud of. It's an extraordinary tricky balance - particularly with the real Priscilla being a Producer on this film.

By design, PRISCILLA never takes a truly deep look at all the details of the couple's lives. Colonel Tom Parker is only vaguely alluded to. The viewer sees Elvis performing only near the very end, and briefly. Once at Graceland, Priscilla is barely shown with anyone other than Elvis' posse. The movie only spans the years they were together. It's a very insular movie which relies heavily on mood and atmosphere. It will be up to each individual viewer if that is sufficient.