There is a scene in Sofia Copola’s very fine film Priscilla which sums up her sad predicament: she’s about to give birth to her daughter, but rather than focusing on her breathing, she stands at a mirror and carefully, almost as if in a trance, puts on a full face of make-up.
Cailee Spaeney portrays Priscilla Presley (nee Beaulieu) from the first time Elvis Presley summons her to his German base as a fourteen year old child, to the bitter divorce years later. To me, it’s a pastel coloured horror film, a creepy, insidious study in coercive control.
Horrible age gap aside, it seems to start off innocently enough. Jacob Elordi initially plays Elvis as shy, confiding in his new girl about his insurmountable grief, following the loss of his mother. But as anyone who understands the dynamics of narcissism knows, this is the process known as “lovebombing”. His sadness is being weaponised. Before she knows it, Elvis is controlling everything Priscilla does, wears and says, and she’s completely trapped, confusing dominance for love.
Essentially, the tagline could have been: “In Graceland, no-one can hear you scream”. Coppola is clever enough as a director to show with real subtlety how the fears and frustration of people often go unexpressed. Priscilla has everything, and nothing. He placates her with presents, like Pavlov’s dogs given treats, and numbs himself with drugs when the rigmarole of touring, philandering and filming gets too much.
Based on Priscilla Presley ‘s memoir, Elvis And Me, there’s no doubting the story’s veracity, but it’s the way we see Priscilla grow too big for the limited role Elvis imposed on her that’s so heartbreaking.Spaeney and Elordi are both excellent, and there’s enough symbolism and space here for the audience to fill in the gaps. Elvis isn’t even a villain under Coppola’s lens, but simply a product of a different time. As is his silently suffering wife. And there’s Iove there,albeit love through a toxic, showbiz prism.
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