As a movie, “Priscilla” is the diametric opposite of Baz Luhrmann’s “Elvis.” Where Luhrmann’s film was lurid and careening, Sophia Coppola’s is muted and t…
Dreamily gazing at the album covers of Elvis Presley was not, statistically speaking, a rare habit among American teen girls in the late 1950s and early ’60s.
A man approaches and asks if she likes Elvis. Of course she does. Would she like to meet him? Um, what? After some negotiations with her parents, Priscilla is sitting there on the sofa at a small party when the King of Rock ‘n’ Roll, himself , strolls down the stairs. Big, big sigh. “Priscilla” is, at least at first, quite funny. After Priscilla initially catches Elvis’ eye at that party, she’s back at school learning about the food groups. How could anyone possibly stomach that? Or when, after Elvis hasn’t called following his stint in the military, Priscilla’s mother asks her if there aren’t any boys in school she might be interested in, instead. Priscilla doesn’t need to say anything; just the image of lining up your average 9th grade boy against Elvis Presley is enough.
No Presley songs play in “Priscilla.” But it does share a telling track with Terence Malick’s “Badlands,” another movie about an underage teen girl who throws her life in with a charismatic drifter with matinee-idol looks .What to watch: Scorsese’s ‘Killers of the Flower Moon’ flawed but powerful But “Priscilla” fades where “Elvis” found its footing. When Presley’s downturn accelerates in Las Vegas, Luhrmann’s movie swelled with tragedy. In the same time period here, Priscilla awakens. Yet it feels underdeveloped, coming too quickly, in a sudden rush — albeit a terrific rush, with Dolly Parton playing.
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