At moments you may think: Where are the arcs? But the arc is the whole movie — the tale of how the ebullient, soft-voiced rock ‘n’ roll idol who Priscilla thought she was falling in love with evolv…
made a movie about a teenage royal living in a rococo palace that turned out to be a lavish prison, it was 2006, and the movie, “Marie Antoinette,” was a stylized dream of history — the story of the young queen as naïve and isolated rock star. Coppola’s new movie dramatizes the relationship between Priscilla and Elvis Presley, and the parallels with the earlier film are there if you want to see them.
The daring thing Coppola does, given that we’re used to seeing even sophisticated biopics weave the lives they’re showing us into dramatic arcs, is to present the rise and fall of Priscilla and Elvis’s relationship as a diary, one that simply flows forward in a kind of objective Zen fashion, never trumping anything up.
, the 26-year-old Australian actor from “Euphoria” and the “Kissing Booth” films, doesn’t look all that much like him. Yet his louche body language is perfect, and what he does with Elvis’s voice brings him closer to being a dead ringer than Austin Butler was. Elvis’s speaking voice was a true paradox.
The fascination of “Priscilla,” and the wry humanity of it, is that Coppola doesn’t overstate or telegraph any of this. She shows us how Priscilla and Elvis vibe with and take comfort in each other, but then we start to see how Elvis controls Priscilla’s wardrobe, refusing to let her wear patterned dresses , or how he will slip her one of the pills he takes to regulate his sleeping . We realize that Elvis, a man high on himself, is, in his hipster-gentleman way, about nothing but control.
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