Dir: Sofia Coppola
Studio: A24, Stage 6 Films
Review by Robbie Fleming
In 2022, Baz Luhrmann captivated me with his vibrant and electrifying biopic Elvis, which introduced me to Austin Butler—now one of my favourite actors of this new generation. Just a year later, Sofia Coppola brought us Priscilla, a biopic that focuses on the life of Elvis Presley’s ex-wife, Priscilla Presley. In this film, the talented Cailee Spaeny, who impressed me in Civil War (2024), takes on the role of Priscilla, while Jacob Elordi, known for his work in Saltburn, steps into the iconic shoes of Elvis.
With Spaeny gaining momentum in her career, especially with Civil War and the upcoming Alien: Romulus, I decided it was the perfect time to watch Priscilla—the film that truly marked her breakout period. Here are my thoughts.
Sofia Coppola’s direction in Priscilla is consistent with her previous work, leaning towards a dramatic and realistic tone. This contrasts sharply with Luhrmann’s Elvis, which is characterised by its flamboyant and flashy style. Coppola’s restrained approach suits the story she aims to tell, allowing viewers to see the world through Priscilla's eyes and delve deeply into her life with Elvis. Given that Coppola has previously explored a more opulent style in her 2006 film Marie Antoinette, I respect her decision to adopt a grittier, more grounded tone for Priscilla. This choice underscores the film’s focus on character and realism rather than spectacle.
The standout aspect of Priscilla is undoubtedly Cailee Spaeny’s performance. She fully embodies the role, capturing Priscilla’s mannerisms and personality with remarkable precision. It was refreshing to see a more developed and nuanced portrayal of Priscilla, especially in comparison to the brief glimpses we got in Luhrmann’s Elvis. Spaeny’s performance anchors the film, making it a compelling character study.
On the other hand, I approached Jacob Elordi’s portrayal of Elvis with some hesitation. Having been blown away by Austin Butler’s interpretation in Elvis, I was curious but cautious about seeing another actor take on the role so soon. While Elordi certainly looks and sounds the part, his performance ultimately feels more like a caricature of Elvis rather than a fully realized portrayal. This isn’t to say that Elordi lacks talent—he’s clearly a capable actor—but his portrayal of Elvis didn’t resonate with the same authenticity and depth as Butler’s.
Another highlight of Priscilla is its carefully curated soundtrack, which complements the film beautifully. Although it notably omits any of Elvis Presley’s music, the soundtrack is filled with great hits from the 1960s that enhance the film’s atmosphere. One standout track for me is “Nobody Knows” by T.L. Barrett, which is used in a pivotal scene, leaving a lasting impression with its powerful placement.
However, one aspect of Coppola’s films that has always been a point of contention for me is the pacing, and Priscilla is no exception. The film’s slow pace can, at times, feel like a drag, making it difficult to stay fully engaged with the story. While Coppola’s screenplay is strong on paper, with well-crafted dialogue and a clear vision, the execution occasionally falls into moments that feel overly drawn out.
Throughout this review, I’ve compared Priscilla to Elvis, and that’s because the two films offer such starkly different experiences. While Elvis is a visually dynamic, high-energy exploration of the King’s life, Priscilla is more of a subdued, performance-driven character study, steeped in Coppola’s signature style. It’s a film that demands patience, and while it may not be as immediately entertaining as Luhrmann’s extravaganza, it offers a deeply personal glimpse into Priscilla’s world.
In conclusion, Priscilla serves as a strong vehicle for Cailee Spaeny, whose stellar performance carries the film to the end. Coppola’s direction and the well-chosen soundtrack add layers of quality to the film, but the slow pacing and Elordi’s portrayal of Elvis prevent it from reaching greatness. I would rate Priscilla 3 out of 5 stars, or 7/10. If you’re a fan of Sofia Coppola’s work, this film is definitely worth a watch. However, if you, like me, were enamored by the energy and spectacle of Elvis, you might find Priscilla a bit underwhelming.
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