Sofia Coppola’s Priscilla and Todd Haynes’ May December attempt to avoid either romanticizing or moralizing. What are they trying to say?
circles around the question of when Priscilla Beaulieu , only 14 when she first met the 24-year-old Elvis Presley , will finally convince the troubled megastar to consummate their relationship. In recurring scenes in Elvis’ grand but gloomy Graceland bedroom , she attempts to move from kissing to something more and is stayed by the hand of the King. The reasons he gives for this deferral keep changing.
Later still, during a period when Elvis becomes obsessed with Eastern and Christian spiritual teachings, he rejects Priscilla’s advances by saying that they must rise above the desires of the flesh. And after the two are married and Priscilla has given birth to their child Lisa Marie, Elvis expresses reluctance to harm his wife by having sex with her, even though she tells him she feels physically fine.
. And there is something admirable about the film’s refusal to editorialize or wag a disapproving finger, instead letting Spaeny’s and Elordi’s quiet, vulnerable performances show a real, if toxic, connection between a damaged man and the young girl to whom he passes on that damage.
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