There's a lot of index cards that make up the Elvis story, and Priscilla Presley is usually shuffled a fair way down the pack. She doesn't have much of an impact on the music side of things; you'd think being his wife would make her central to his personal life, but it seems most of the good stuff - the drugs, the affairs, the trip to visit President Nixon - took place without her.
Sophia Coppola's take on Priscilla's biography is one that fits her own filmography like a glove: Priscilla (Cailee Spaeny) was a young woman trapped in a gilded cage. Pretty much from the moment the fourteen year-old was introduced to the 24 year-old Elvis (Jacob Elordi) on an US Army base in Germany she was kept from maturing, stuck living a life that seemed ideal yet increasingly failed to give her what she wanted and needed.
It's the early courting scenes that (intentionally) have the most life here, with Elvis as a good ol' boy with pure intentions and a lot of heartbreak and loneliness after the death of his mother. Priscilla is a young woman on the verge of something she can't name, only to make the one choice that erases any chance of her finding out.
The issue of the creepy age gap is largely defused - seems Elvis wasn't all that interested in her sexually no matter what her age. But the question of exactly what Elvis did want from her remains up in the air, even as he woos both her and her parents, getting them to agree to her staying (chaperoned) at Graceland.
Elvis clearly has firm opinions about her behaviour and dress that he's not afraid to impress upon her - if it'd give her an external life it was ruled out, though considering his massive fame keeping her close wasn't entirely unjustified. But the result was that much of her life with him was one of benign neglect, leaving her at home or out of things while he was busy being Elvis outside of Graceland.
Best guess is she represented an ideal of womanhood Presley felt he needed in his life, even as he was popping pills, sleeping with Ann-Margaret and partying with the Memphis Mafia. Priscilla seemingly has everything she could want, only nobody ever asks her what she needs.
Priscilla is on the fringe of big things, but Coppola never leaves us feeling that we're missing out. Elvis' life is big but bland and unexamined - it's Priscilla's growth, her realisation that she's never going to be anything more than an object in her marriage, that's the real action here.
Not that "action" is quite the right word. The usual biopic list-checking of big events shows up from time to time, but the insights into The King are limited (there isn't a single Elvis song on the soundtrack) and stakes are rarely all that high. Priscilla is frustrated and stifled, Elvis is more neglectful than anything else, and when she finally decides she wants out Elvis knows it's time to let her go.
Still, both lead performances are spot-on, and the hazy vibe of life in Graceland is evocative and effective. It's a story in a minor key; if it feels like bigger things are just out of sight - for both Elvis and Priscilla - that's kind of the point.
- Anthony Morris
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