Dreamily gazing at the album covers of Elvis Presley was not, statistically speaking, a rare habit among American teen girls in the late 1950s and early ’60s. But for Priscilla Ann Wagner, teenage fantasy became a strange and surreal reality.
This image released by A24 shows Jacob Elordi as Elvis, right, and Cailee Spaeny as Priscilla, in a scene from “Priscilla.” This image released by A24 shows Jacob Elordi as Elvis, left, and Cailee Spaeny as Priscilla, in a scene from “Priscilla.” This image released by A24 shows Jacob Elordi as Elvis, left, and Cailee Spaeny as Priscilla, in a scene from “Priscilla.” This image released by A24 shows Jacob Elordi as Elvis, left, and Cailee Spaeny as Priscilla, in a scene from “Priscilla.
Coppola, the writer-director of “The Virgin Suicides,” “Lost in Translation” and “Somewhere,” has always been innately attuned to the forming identities, swelling desires and intimate revelations of young women. In the story of Priscilla Presley , is drawn to Priscilla because she reminds him of home; it’s clear her purity is part of her appeal to him. It’s a long time before they have sex, though her youth remains tacitly problematic.
No Presley songs play in “Priscilla.” But it does share a telling track with Terence Malick’s “Badlands,” another movie about an underage teen girl who throws her life in with a charismatic drifter with matinee-idol looks . There aren’t many false notes in Coppola’s richly layered film, handsomely shot by Philippe Le Sourd, with sumptuous production design from Tamara Deverell and fine, toned-down costumes by Stacey Battat.
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