Priscilla review: The anti-Elvis by Sofia Coppola

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Priscilla review: The anti-Elvis by Sofia Coppola
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Score Details “With Priscilla, Sofia Coppola again revels in the cosmetic trappings of a sentence in the dollhouse.

” Pros Cons At 25 years old and just 5-feet, 1-inch tall, Cailee Spaeny is at once both older and shorter than the character she plays in Sofia Coppola‘s latest daydream of fame and fortune as a captive state. It’s the stature we notice. “She’s like a little girl,” someone says of Priscilla Beaulieu, a teenager swept into the glamorous life of an adult music superstar. In reality, Elvis Presley had 10 years, but only six inches on her.

Priscilla arrives one year after Elvis, Baz Luhrmann’s frenetic biopic jamboree, which took the wide view of its subject’s life and career, trying to capture decades of cultural impact across a few hours. There, the future Mrs. Presley was played by Olivia DeJonge, confident and bubbly in a performance brief enough to be called a cameo. Luhrmann seemed to take the notion that the two were kindred spirits united by loneliness at face value.

“Promise you’ll stay the way you are now,” he says to his sweetheart, right before leaving her in a crowd of screaming fans and flying back to the flashbulbs of Hollywood and Nashville. Two years pass before he’ll unfreeze her with his attention again. It’s the girl’s innocence he covets and fetishizes, her youth he wants to put behind glass like a gold record.

Like Coppola’s Marie Antoinette, she falls into an arranged marriage of sorts , and is whisked off to an American palace, the Southern manor of Graceland. She is always or never alone — left to dangle like an ornament during the long months when Elvis is shooting or touring, then surrounded by his Memphis Mafia boy’s club when he’s home. One might think, too, of Princess Diana whenever the in-laws are tightening the proverbial blinds and warning of the eyes watching beyond the gates.

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