Priscilla

It is Coppola’s best film in 20 years.

The result is a meditative and thoughtfully feminine Sofia Coppola movie through and through—a sad, bored and confused young woman of certain privileges trying to make sense of her circumstances and, maybe, even coming of age.

Coppola’s movie is packed with many similarly smart, but never egotistical storytelling decisions and is easily one of the finest films of her career.

Though Coppola may be singing a familiar song, it rings with clarity and purpose, and unlike most biopics, it does not outstay its welcome.

Spaeny, with the aid of Coppola’s finely honed script and the first-tier makeup and wardrobe teams, does a marvelous job of capturing Priscilla’s transition from a ninth-grader who finds herself starring in her own fairy tale to a 28-year-old mother who knew her marriage was over long before it was finally over.

“Elvis” is zippy and energetic while Priscilla is methodical, bordering on sedate. However, the biggest sin with Priscilla is Coppola never really digs into her wants and desires apart from Elvis.

Priscilla gives us little idea of the inner workings of Priscilla Presley. She’s an enigma in what is supposed to be a story of her empowerment.

Fantastic portrayal the transformation of a naive character smitten with the charisma of a super star, turning into an object of a dominant male celebrity. Well acted by Cailee Spaeny under the astute direction of Sofia Coppola. We so often get to hear the story from the hero’s perspective, it was refreshing to highlight the plight of background characters. Jacob Elordi gets the nod in portraying a difficult and complex Elvis’ role.

In my opinion, a good film for a light night at the cinema, but nothing more. While the viewer is brought relatively close to Priscilla in the beginning, the distance to her increases as the film progresses. Cailee Spaeny delivers a very good performance, but Sofia Coppola does not really succeed in portraying Elvis's wife in all her facets. We are not allowed to get sufficiently acquainted with Priscilla's needs, worries, fears, longings and doubts. Perhaps it is because the script is based on a book co-authored by Priscilla Presley, who only wanted to give limited insights into her life. Overall, the focus in the film is not on Priscilla, but on Elvis. And he is too poorly acted for that.

When a film seeks to depict the life story of a beloved public figure, it generally works best when it paints a comprehensive portrait of said individual. However, in this biography of the wife of rock ʼn roll icon Elvis Presley, viewers get a picture that seemingly tells only half of the story. Writer-director Sofia Coppola’s latest focuses on the years Priscilla Presley (Cailee Spaeny) spent with Elvis (Jacob Elordi). They embark on a sincerely loving relationship that, sadly, falls prey to problems with drugs, firearms, infidelity, prolonged separations and control freak tendencies, conditions – largely initiated by Elvis – that eventually lead to their separation (and at times cause the film to be more about him than her). Regrettably, the choice of this narrative leaves out the many significant personal and professional accomplishments of Priscilla’s life on her own, an inspiring story that’s completely (and perplexingly) overlooked. As a consequence, viewers are primarily shown a profile of a predominantly subservient character who rarely rebels until she finally somehow musters up the courage to leave (where did that trait come from?), with nothing about the successes that followed. In addition, there are many story threads that feel unresolved or underdeveloped, leaving audiences hanging about what comes from them. To its credit, “Priscilla” is, in several respects, some of the best (though surprisingly most conventional) work that Coppola has produced as a filmmaker, as evidenced in the cinematography and editing and in Elordi’s balanced portrayal of Elvis. But, like other of Coppola’s efforts, this offering could still use some tidying up in the writing, character development and overall story structure. The wife of a King truly warrants better treatment.

bad [ bad ] adjective, worse, worst;(Slang) bad·der, bad·dest for 36. not good in any manner or degree.

Such an awful and boring movie. I've read Priscilla's book and I just feel like there was so much more in the book that they ignored in the movie.