Posters for Priscilla (2023) and Elvis (2022).
Courtesy of A24 and Warner Bros
By Olivia Borek
It was the summer of 2022 when my mother and I first ventured out to see “Elvis” at the Regal Cinema near my school. Although it had been over a year since our initial trip to Nashville, we were still feeling the ecstasy of being in the mesmerizing RCA Studio B, Elvis Presley being among the many legends to enter through its doors. And the movie, with all its glamour and lights mirrored that fleeting moment and was the start of my obsession with all things Elvis.
But before all the CDs filling my shelves and posters adorning my walls was a teenager whose fate in the “Elvis” movie rested upon its director Baz Luhrmann.
Films such as “Moulin Rouge”, “Romeo + Juliet” and “The Great Gatsby” had captivated me with their extravagant productions, the linking point between them being Luhrmann, a director known for adding flashy spectacles and unique transitions to his films. “Elvis” is no exception, receiving nominations for Best Cinematography Best Costume Design, and Best Picture at the 2022 Oscars. The biopic is in no way short of editing choices that transport the viewer to a dimension unlike any other, decorated with sparkles akin to the bright displays along the Las Vegas strip.
We see how Elvis changes from the beginning of his career to the very end, as well as how the people around him influenced his decisions, the most crucial being his “Memphis Mafia” and Colonel Tom Parker.
Tom Hanks’ portrayal of Colonel Tom Parker, who also serves as the narrator of the film, is particularly interesting, as the viewer bears witness to how he manipulates both Elvis’ mind and career. In addition to seeing how Elvis rose from a young boy living in a predominately Black apartment complex in Memphis to an international icon, we notice the evolution of Colonel Tom Parker’s business as he severs ties with previous clients in favor of cashing in on Elvis’ budding fame.
It can’t be overstated enough that Presley’s fame wouldn’t have been possible without the clear and present appropriation of African American musicians, a fact that the biopic attempts to bring light to. By including scenes depicting Elvis as a young boy worshipping in an all-Black church and later going to bars and listening to music by B.B. King, Little Richard, Jimmie Rodgers, Dean Martin and Sister Rosetta Tharpe, we see the clear Beale Street influence in his musical style.
The “Elvis” soundtrack is one that drastically impacts the experience of the film as it strives to bridge the gap between 1950’s Nashville and the present day.
With remixes of hits such as “Hound Dog” and songs featuring artists including Doja Cat, Eminem and Kacey Musgraves, the eclectic mix sets the tone and mood of the film.
Yet perhaps one of the most notable aspects of the “Elvis” movie rests in the Oscar-nominated performance of actor Austin Butler, whose filmography boasts “Sex and the City” spin-off “The Carrie Diaries” and, as well as appearances in “Dune” and “Once Upon a Time in Hollywood” If the fact that he can’t seem to shake the “Elvis voice” years after filming isn’t enough to prove his dedication to embodying the role of Elvis, an analysis of the way in which he carries himself throughout the movie surely will. The attention to detail in every stance and maneuver is especially noticed when placed side-by-side with videos of The King. While the majority of the Elvis songs in the movie are actual recordings, Butler’s renditions of “Baby, Let’s Play House” and “Trouble” sound remarkably similar to the originals.
Priscila Presley, ex-wife of Elvis, even took to Instagram to solidify her praise for the film, writing “I’ve seen ’Elvis’ the film, I watched the trailer over a dozen times. But the words I heard from my daughter [Lisa Marie Presley] on how much she loved the film and that Riley [Keough] will love it too when she sees it brought tears… relived every moment in this film. It took me a few days to overcome the emotions as it did with Lisa.”
In the two-and-a-half-hour film, Priscilla Presley is critically over shadowed. According to The Harvard Crimson, “… Priscilla, despite making up almost 50 percent of Elvis’s life, had less than 15 minutes of screen time in the 159-minute movie.” Although underutilized, Actress Olivia DeJonge carefully finds the nuance in every aspect of Priscilla’s personality, striking the balance between being an attentive mother caring for Lisa Marie and a devoted wife who only wants the best for her husband.
At this point let’s fast forward to September 2022, a few months after “Elvis” hit theaters, grossing around $1.9 million in its ninth weekend. It’s announced that Jacob Elordi of “The Kissing Book” trilogy and Cailee Spaeny of “The Craft: Legacy” are set to play the Presley couple in Sofia Coppola’s newest project “Priscilla,” an adaptation of the 1985 memoir “Elvis and Me” written by Priscilla Presley and Sandra Harmon. Coppola, having directed movies such as “The Virgin Suicides”, “Marie-Antoinette” and “Lost in Translation”, is known for bringing a raw dose of femininity into her art. Priscilla Presley was brought on as an executive producer and filming began in October of 2022, with the film being released in theaters worldwide on Nov. 3, 2023.
“Priscilla” was heavily marketed as not only a sort of “deep dive” into Elvis and Priscilla’s relationship, but also a discovery of Priscilla as her own individual person apart from Elvis. Based around events documented in the original book, it set out to explore how the first meeting between 14-year-old Priscilla Beaulieu and 24-year-old Presley at the US military camp in Germany forever altered the course of her life and indeed that’s exactly what it did.
From the Rococo-esque opening sequence featuring pink painted toenails, false lashes, and plush rugs, Coppola’s ethereal touch is present within each and every aspect. The palette of light pastel colors coupled with a hazy editing overlay gives the film a “dream-like” quality that remains consistent throughout.
This completely matches with the perspective from which the story is told- a young Priscilla thrust into a world of fame and fortune larger than life itself, and a relationship that over the course of 2 hours ends in a bitter divorce.
By using strategic editing choices such as raising the roof of Elvis’ Graceland to dwarf Priscilla in her young age or letting the camera linger on Spaeny’s face after a conversation, the viewer is constantly reminded that this is the story of a young woman navigating the complex tapestry of an adulthood that came too soon.
In an article written by Sara Stewart for CNN, she made the important comparison that “Presley’s Memphis home of Graceland is the prison, and there are few scenes that don’t include a cut to closed curtains or covered windows, visual shorthand emphasizing ways in which Priscilla’s being cut off from the world by Elvis, his family and his entourage.”
It’s clear that Elvis grew to control every part of Priscilla’s life, deciding what she would wear and what pills she would take. In “Elvis and Me,” Priscilla recalls “In his room, Elvis gave two large red pills, explaining, ‘Take this now, and by the time you come to bed, you’ll be nice and relaxed.’ I really didn’t need anything but he insisted, saying that they would help me sleep better…” This led to an intoxicated state that left her sleeping for two days.
Emotions can be a critical point to forge a path into someone’s heart, Elvis and Priscilla’s earliest interactions being one during which Elvis “trauma dumps” by mentioning the recent death of his mother. Costume designer Stacey Battat did an incredible job telling a narrative through hair, wardrobe, and makeup as they mimicked the degree of influence that Elvis has over Priscilla’s life. Spaeny has the ability to transition from schoolgirl to young woman during the course of a single movie, replacing light brown curls for a black updo and winged eyeliner. A high school graduation celebration, sweet 16 cards, and Elordi’s 6’5” frame towering over Spaeny’s 5’1” all reinforce the notion that she was just a child, rendering intimate scenes uncomfortable. Priscilla’s mother Ann Beaulieu, played by Polish actress Dagmara Dominczyk, is fruitless in protecting her daughter and preventing her from moving to Memphis.
Unlike the biopic, “Priscilla” is not the story of Elvis Presley’s fame. Instead, it is the masterful display of love through the lens of womanhood. It is the story of growth and development, pain and wonder. These emotions are best captured in the eyes. Spaeny’s charm and captivating qualities as an actress are best captured in slight downcast looks and longing glances. One of my favorite scenes of the film is when Elvis returns to Graceland after shooting a movie and him, Priscilla, and the rest of the “Memphis Mafia” gather for dinner in the dining room. The camera is on Spaeny’s face as she tries to digest the “guy talk” happening around her, occasionally plastering on a smile to remain engaged.
Another striking difference between “Elvis” and “Priscilla” is the notion that we never bear witness to an Elvis performance onstage. In fact, the soundtrack for the movie does not include a single song by Presley. Instead, it uses instrumental pieces and music by artists such as Fontella Bass to contribute to the otherworldly atmosphere.
Moreso in this movie than in “Elvis” we get an insight into Elvis’ strong temper. Although there are various positive moments between the couple, the poignancy of tantrums, one during which Elvis throws a chair at Priscilla, leave an unmistakable mark on the viewer.
When it comes to the opinions of the Presley family as they relate to this controversial movie, Priscilla and her late daughter Lisa Marie are divided. In the same article for CNN, Stewart writes that “Lisa Marie died before seeing the film, but according to Variety, she sent emails to Coppola objecting to the script’s portrayal of her father; she called the script “shockingly vengeful and contemptuous.”
“I think it’s right on, to be honest with you,” Priscilla said at a Q&A about the film last Friday.”
Many have also claimed that Priscilla allegedly exaggerates some of the events in her memoir, leading to further discourse about fact vs. fiction and the nature of prioritizing profit.
This discourse truly exemplifies that notion that it’s incredibly difficult to attempt to construct someone’s life once they’ve passed away.
Memories are fickle and easily distorted. The challenge with creating films that are centered around the life of a high-profile individual who has passed away as compared to celebrity that is living (such as Elton John with “Rocketman”) is that they aren’t there to provide the other side of the story or defend themselves.
Both “Elvis” and “Priscilla” aim to accomplish different goals when it comes to the story that they want to tell and important aspects that should be expanded upon. It’s evident that Luhrmann and Coppola, whose budget was less than “Elvis” by over $60 million, took distinct directorial approaches with their cameras, set pieces and actors.
Ultimately, both take their place as a part of Elvis Presley’s rock legacy, one that began with his birth nine decades ago and will continue for nine decades more.
