The more versions of this story you watch, the more Sofia Coppola’s stands out.
is not the first time the story of the woman married to the world’s most famous man has been told, but it’s the first time she’s gotten top billing. Even in the 1988 TV movie, which, like Coppola’s film, is adapted from Priscilla Beaulieu Presley’s 1985 memoir, she comes second, identified only through her proximity to greatness.
There are movies about Elvis in which Priscilla does not appear at all, and others in which she’s just a fleeting presence. In 1997’s, Alyson Court’s Priscilla shows up just long enough to nag the King of Rock ’n’ Roll about how he’s spending his money. But it’s hard to find a more pointed contrast than the one between, released last year.
If Coppola is uninterested in Elvis the legend, that’s practically all Luhrmann the inveterate maximalist cares about. Luhrmann’s version is framed not through Priscilla’s point of view but through the morphine-dilated pupils of Elvis’ manager, Col. Tom Parker , who, when it comes to the control of his protégé and meal ticket, views Elvis’ love for Priscilla as “the most dangerous thing of all.
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