A film by Sofia Coppola

Reviewed by Nigel Patterson - December 2023


A film by Sofia Coppola

Executive Producer: Priscilla Presley


Based on the book:

'Elvis and Me'

(by Priscilla Presley and Sandra Harmon)



EIN in-depth review by Nigel Patterson (December 2023)



Now updated with EIN Reader feedback below - Have YOUR say click here

While Baz Luhrmann’s major hit film in 2022, Elvis, was a colorful narrative and frenetic musical explosion, Sofia Coppola’s, Priscilla, is more subdued, but still a colorfully hued, impressionistic, and musically expressive story.

Coppola is an acclaimed filmmaker and director. Thematically, her films explore themes of identity, isolation, and the complexities of human relationships, and these underscore, Priscilla.

The narrative

Luhrmann’s film was about the Colonel and Elvis, with Priscilla only a supporting character. Coppola’s Priscilla contrasts, with it being about Priscilla and Elvis, and the Colonel completely invisible to the narrative.

The film covers the period from Priscilla meeting Elvis in 1959 to her leaving Graceland in 1972.

As the story of Priscilla Presley, the director constructs a powerful account of how a young girl in love with the world’s biggest star, grows from a lonely teenager to a mature woman, having to live in Elvis’ shadow while sharing him with his fans and close friends.

As Priscilla matures, she establishes her own identity by finding greater meaning and direction in her life.

Coppola’s telling of the Priscilla Presley story is emotionally drawn through an intoxicating mix of engaging narrative, evocative cinematography, and a sublime music score and soundtrack. This film isn’t the rollercoaster ride that was Luhrmann’s, but a story with a far different tone, and one that exists within its own aesthetic and milieu.

The narrative is effectively told over three stanzas: the courtship, life at Graceland, and the disintegration of the couple’s relationship.

The scenes early in Priscilla and Elvis’ relationship offer a confusing dilemma. The 24-year-old Elvis and 14-year-old Priscilla developing a strong closeness, but with Elvis not wanting their relationship to move beyond petting.

The inherent unfairness on Priscilla - who was a normal 14-year-old girl with her body developing and hormones starting to drive new physical and emotional needs - is highlighted when Elvis tells her:

“This is very sacred to me.”

In response, Priscilla says, “But you did it with Anita.”

Elvis replies, “She was older”.

The misogynist nature of Elvis and Priscilla’s relationship is reinforced throughout the film as Elvis engages in relations with other women while Priscilla continues to be stranded initially on her own in the cloistered environs of Graceland, and later with baby, Lisa Marie.

At Graceland, Priscilla only establishes friendships with Elvis’ grandmother, “Dodger”, and later Jerry Schilling. Any friendship she could possibly have with others closer to her age such as Becky and the other secretaries who work in the office at Graceland answering fan mail, is thwarted by Vernon Presley, who expects the secretaries to work, not engage in idle chit chat, and who forbids Priscilla from bringing any of her school friends to Graceland.

It was nice to see some of the scenes many fans will be familiar with from Elvis’ home videos, incorporated into the film.

The film also features a number of lesser-known events from the Elvis and Priscilla story. They include the night they experimented with LSD (this is arguably not as psychedelic as it may have actually been); Elvis’ interest in new age philosophies such as numerology (he raves about Cheiro’s Book of Numbers); and the “Fahrenheit 451” incident when Elvis burns his many new age books.

Caille Spaeny’s martial arts form is impressive in the scene where Priscilla trains with her soon to be lover, Mike Stone.

Coppola employs some neat filming techniques to tell the story.

Elvis and Priscilla’s “hermit” period behind the bedroom door is cleverly signalled by repeated images of them in bed, alternating with meals on a tray being left outside the room, and empty trays being collected.

Priscilla’s growing maturity and Elvis’ ongoing dissatisfaction with his life, are both exemplified when Elvis asks Priscilla for a break in their relationship during her pregnancy. Priscilla bluntly replies, “You’ve got it. Just tell me when to leave.”

As the film progresses, the disintegration of their relationship is skilfully portrayed. A photography session capturing the two main characters and their young daughter, Lisa Marie, initially appears to be a joyful one, but after the last photo is taken, we see Elvis’ demeanour change and the cold emotional distance between him and Priscilla, is jarring.

The infamous hotel room incident where, in anger, Elvis throws Priscilla on the bed, and says, “I’ll show you how a real man makes love to his woman”, is brief, and somewhat surprisingly, understated. Importantly, was this an isolated incident?

As the film approaches its denouement, there is a powerful scene where Elvis tells Priscilla that she has everything a woman could want. The sad irony in this resonates on several levels. It is surprising that Elvis, who spent his life searching for meaning in his life (even though he had everything material that he could want), didn’t realise that Priscilla also wanted something more meaningful than an absent partner/ husband and material possessions. The very dissatisfaction afflicting Elvis was mirrored in Priscilla’s yearning for a meaningful, not superficial, relationship.

In the film, Elordi works well as an understated Elvis, his vocal delivery is good (he didn’t sing), and the only material dissonance for me was his image on well-known Elvis album covers and concert posters.

Unlike, Luhrmann’s Elvis, the story’s highs and lows are, to a large degree, muted in a similar way to the film’s often hazy, blue cinematography and slow narrative, that overall, creates a downbeat tone.

Most of the secondary characters do not stand out. Vernon Presley and Dee Presley are portrayed in a negative light, Elvis’ grandmother, “Dodger” and housekeeper, Alberta, are positive characters, while the Memphis Mafia characters are non-descript. However, the presence of the Memphis Mafia with Elvis everywhere he goes, projects the “blokey” nature of Elvis’ world and they do look like a security detail.

This highlights how teenage Priscilla struggled with life and loneliness at Graceland, with no friends, Elvis often away filming, and when he was home, spending so much time with his buddies.

Thinking of one of Elvis’ best recordings in the 1970s, Walk A Mile in My Shoes, those who are critical of Priscilla, might like to consider the message in this song.


The two elephants in the room

  • The age difference

1950s-early 60s in America was a different country to what it become by the mid-1960s. The age difference between (child) Priscilla and (adult) Elvis was not unusual in many relationships, particularly in the southern states.

In the film, the Beaulieu’s decision (dilemma) to let their daughter not only start a relationship with Elvis, but also go and live at Graceland, is deftly told.

The age difference issue is reinforced when Priscilla first arrives at Graceland. One partner of a member of the Memphis Mafia, comments: “She is like a little girl, and compared to others she is.”

Priscilla’s age and comparatively short height worked in tandem against her.

As a filming device, to heighten the tension of the age difference, Coppola intentionally paired the exceptionally tall, Jacob Elordi (6’ 5”/196 cm) as Elvis, with the 5’ (150 cm), Cailee Spaeny, as Priscilla.


  • Elvis’ personality and issues of grooming, control and abuse

Coppola presents Elvis as a man with a multi-faceted personality. His tender and fun side is on display, but so is his darker side, characterised by insecurity, an explosive temper, the need to control, and a search for greater meaning in his life.

Some reviewers, and many fans, have criticised the film for portraying Elvis in a negative light, citing that he groomed, controlled, and abused Priscilla.

For anyone who has read the book the film is based on, Priscilla’s, Elvis and Me, Jerry Schilling’s, Me and A Guy Named Elvis, other memoirs by those close to Elvis, and the main biographies, the portrayal of Elvis’ anger management issues and erratic behavior should not come as a surprise. It has been well documented over the past five decades, yet some fans are suddenly aghast that they have been laid bare in Priscilla.

Elvis’ controlling nature is exemplified in the film by his dictating what Priscilla wears (he especially dislikes brown dresses as the color reminds him of the Army), her hairstyle, and how she applies her make-up. When Priscilla tells Elvis she has been offered a part-time job in a boutique, Elvis quashes this by telling her he needs her to be at Graceland when he calls. (As longtime fans know, he expected similar things of members of the Memphis Mafia.)

Elvis’ manipulation of their relationship is potently on show when Priscilla confronts him about the magazine stories about his love affair with Ann-Margret. Before he left to film Viva Las Vegas, he had told Priscilla she could come out to see him on set. This quickly changed when he and Ann-Margret developed very close and strong feelings for each other. Elvis reneged on his initial promise telling Priscilla there was trouble on the set and denying any involvement with his co-star.

He also employs a favorite tactic to dissuade Priscilla from coming to visit, he says he needs her at Graceland to “keep the home fires burning”, to which, Priscilla replies, “The home fires are burning low, someone better get home to start the fire”.

Another, even more effective tactic of Elvis’ to keep Priscilla in her place, is threatening to send her back to her parents.

While there is truth in the position that Elvis groomed, controlled, and abused Priscilla, as to its significance, it needs to be considered in the context of the couple’s full relationship, including each as individuals.

My comment is not made to justify the negative parts of Elvis’ personality (we all have weaknesses), but simply to note that in forming an opinion on another person we need to know the “full story”.

Perhaps, to enhance narrative balance, Coppola should have included more about Elvis’ caring side, for instance, his countless benevolence to others, many of whom who he didn’t know.

In reality, over the years Priscilla and Elvis shared more instances of tenderness, than conflict.

Also, in a two-hour film which covers a period of 15 years, it can be easy for certain events to assume disproportionate impact. Specifically, scenes of violence have additional power that often outweigh scenes of tenderness.

In this respect, I can understand the film leaving some viewers with a discomfort about Elvis’ role in his relationship with Priscilla.


Jacob Elordi, Cailee Spaeny with director Sofia Coppola

The music
Spoiler: EPE wouldn’t allow Sofia Coppola to use Elvis’ music in the film.

Regardless, the soundtrack to Priscilla is outstanding.

Fifty-one songs are used in the film, of which only 17 have been released on the soundtrack album. What stands out is that the director and her husband, Thomas Mars, spent countless hours finding songs that not only suited the tone of the scenes, but also often made a statement relevant to the story.

Musical highlights, and there are many, include an instrumental version of Aura Lea (Love Me Tender) adding gravitas as Elvis said goodbye to Priscilla at the airport when he returns from Germany to America. During an ice-skating scene, a version of Buddy Killen’s underappreciated song, I Love You, Forever, is the perfect complement to a hazy, dark-blue visual.

Other nicely used tracks include the Ronettes, Baby, I Love You, the hypnotic 1950s instrumental track, Sleepwalk, and consistent with Coppola’s trademark of featuring anachronistic songs, the neo-psychedelic hit from Tommy James and the Shondells, Crimson and Clover (from 1969 it is used for a 1950s scene).

Elvis and Priscilla’s wedding scene is made more special through the song, Rippling Waters, by Speedy West.

The end of their marriage is sensitively handled by director, Coppola, the film ending as Priscilla leaves Graceland with Dolly Parton’s wonderful, I Will Always Love You, poignantly complementing the visual element.

The film score (original music) was written by Thomas Mars’ group, Phoenix, it is strong and seamlessly blends with the soundtrack songs.

Praise for the musical element of Priscilla has been widespread, including:

  • Ben Kenigsberg (New York Times) said the non-usage of Elvis Presley's music brought the film closer to Coppola's aesthetics and avoided making the film a conventional biopic.
  • Marlow Stern of  Rolling Stone said that it "knocks out of the park". 


At the box office

Sofia Coppola is not known a director of mainstream blockbuster films, preferring to direct films which allow her to express a distinct aesthetic and sensibility. Her films often involve young female protagonists reaching an emotional turning point. Her better-known films are The Virgin Suicides, Lost in Translation, Marie Antoinette and The Beguiled.

Coppola’s eight films (including Priscilla) as director, have grossed just over $100M in the US.

The budget for Priscilla was reportedly US$20M. To return a profit usually requires a gross of double the budget. That can comprise US and international cinema gross, DVD and Blu-ray sales, and streaming services.

At its peak, Priscilla only screened in 2,361 US cinemas – mainstream films usually screen in up to 4,500 US cinemas.

Despite a reasonably strong opening in the US (the first time a Sofia Coppola directed movie finished in the weekend box-office top five), as at mid-December 2023 the film had only grossed around US$21M.

The box office receipts in the US are above average for the director, but possibly lower than what had been hoped for, even allowing for the still underperforming box office receipts across America, post Covid.

The film’s international release is mainly in January 2024 with the home releases and streaming availability later in the year.


Priscilla has been (to date) nominated for 10 major film awards. It has received three awards (with four others yet to be decided):

Best Actress, Venice Film Festival: Cailee Spaeny

Filmmaking, Mill Valley Film Festival: Sofia Coppola

Variety Collaborators Award, Middleburg Fim Festival: Sofia Coppola and Stacey Battat

Verdict: Not surprisingly, Priscilla, like, Baz Luhrmann’s Elvis, has divided viewers, especially Elvis fans.

Sofia Coppola has constructed a carefully defined story which doesn’t sensationalise or alter the known Priscilla and Elvis story. It is well filmed with the narrative, music, and “blue-hued” cinematography providing the story of a young girl thrust into a world most people can only dream of, and how it shapes her future. Like Baz Luhrmann’s Elvis, it is not the full story, but it is one, arguably more grounded in reality, than the other.

In a sense, Baz Luhrmann’s, Elvis, and Sofia Coppola’s, Priscilla, are bookends to the Elvis story, a story where the truth likely lies somewhere in the middle.

Please click here to comment - have YOU seen the movie - what did you think?


Movie Review by Nigel Patterson.
-Copyright EIN December 2023
EIN Website content © Copyright the Elvis Information Network.






From Yolanda P
This is an Art House myopic film of a very limited biopic. Elvis Presley Enterprises (EPE) did not approve the making of this disparaging film, and would not allow the producers to use Elvis' music.
The film intentionally portrays Priscilla as an innocent child-like adolescent for an entire 10 years and Elvis as an ogre towering some 16 inches in height over her. In reality he was only 7 inches taller than her.

I have read some 20 books about Elvis, including 'Elvis and Me' by Priscilla, and I found her book to be so lacking in love and understanding for him. No doubt Elvis had his idiosyncrasies, but he was also renowned for being kind and thoughtful, very funny and incredibly generous. But they were so unsuited for each other... he from an unbelievably impoverished background and wanting to work hard to support his family, she totally spoilt, indulged and petulant. Not to mention Elvis' unbelievable desirability.
Many believe that Priscilla was not the innocent adolescent she portrays herself to be and that she had an agenda to meet Elvis in Germany. I suggest you read the book 'Child Bride: The Untold Story of Priscilla Beaulieu'.

Further she was already living with Elvis for 4 years when they married, and she was just short of turning 22 (hardly an innocent adolescent). There are many credible accounts that Elvis did not want to marry her, but he made good on the promise to her father. 

But, if life with Elvis was so intolerable... why did she then proceed to marry him? Why didn't she just leave him then? Maybe getting the Presley name had something to do with it? Or maybe all the extravagant material possessions he provided for her.
But when she did finally leave him, (they were at LA home) it was straight into the arms of her Karate instructor, who was married with a pregnant wife and a very young child. She had been having an affair with him for almost a year before she finally told Elvis she was leaving him (in early 1972) for this man.

One has to remember, Elvis was not a normal person. His nature was eccentric, then his meteoric rise to unfathomable fame, the likes never seen before him. Then to be swept off to the army!!! Elvis had given her as much freedom as he could, given his enormous (stifling) fame. He bought her the gorgeous home in L.A. and gave her unlimited funds to renovate it to her liking. ... and he gave extravagant gifts to members of the Beaulieu (her) family.

Of all the books and interviews I've read over this past year, I could not find much in them that compliment Priscilla as a person and it also seems that Priscilla lies changing the narrative of her life story as it suits her.

Even though their divorce settlement was generous, she then sued him for substantially more because her interior designer suggested he was a man of means. But Elvis did not have that amount of money, so he sold a substantial portion of his music catalogue, and she also put a lien on his precious home Graceland which he had purchased for his parents when he was only 22.

My objection with this film... it's mean spirited, and it's about a real person who cannot speak for himself. Also his beloved daughter Lisa Marie is not around to speak for him either, and she vehemently objected (writing directly to Coppola) to the abhorrent negative innuendo of this film about her father.

I am writing this as someone who found Elvis to be extremely hard working, and extraordinarily talented. Also, we cannot judge him on today's values and compare them to the (Southern) values of some 60 years ago.

Priscilla has undoubtedly profited and continues profit using the Presley name, even though she is the Ex-wife... and she instigated the divorce. In fact after their divorce she went back to her maiden name (Beaulieu) then back to Presley again after Elvis died.

Elvis was a very proud and private man and she should have known this, and she should have respected this. She has said he trusted her... well, he surely shouldn't have. Elvis had always been circumspect about speaking in a disparaging manner about anyone publicly.

I do not recommend this film, and I wouldn't want Priscilla to profit from the takings. 

Elvis was so unfairly and insultingly portrayed, and ultimately betrayed.


From Jennifer M.
I'm not an Elvis fanatic but I am a movie buff and have previously enjoyed Coppola's films such as 'Lost In Translation' or 'The Virgin Suicides' which had similar themes.
The Coppola directed Priscilla, however, has a look and feel of a 'Hallmark' movie and a pretty basic script.

Way too much time is spent in their bedroom - but did they have sex or not?
Similarly her affair with her Karate teacher is glimpsed at - but did they have sex or not?
Everything seemed rather glossed-over.

In the end Priscilla Beaulieu's only claim to fame is that she married Elvis and became "a hard-done-by partner of a famous celebrity" but that alone is not a strong enough story for a movie.
The movie is about a woman not satisfied in her relationship but doing nothing else.  

The fact that she was the Executive Producer makes it look even more like a 'Vanity Piece'
While the story obviously happened to her, Priscilla has done herself a disservice. There is no mention of her real achievements as an actress or her earlier fashion business.

While the main actors are fine it still has a Midday Movie feel and even though I am not the greatest Elvis fan there is no way that the silhouette of Jacob Elordi on stage jiggling about in what looked like cheap white cotton pajamas could be the real Elvis.
Over two hours it becomes very dreary.
I have given previous Coppola films 4 out of 5 stars - but 'Priscilla' only scores 1 1/2. 


From Piers EIN.
I have enjoyed Coppola's previous films but with 'Priscilla' I thought a few things a little worrying.
I am sure that after the massive success of 'ELVIS' putting her name in lights must have been very tempting. Priscilla is the Executive Producer.

So there is has to be something rather narcissistic about her involvement, particularly as she said that she couldn't tell Lisa Marie about the movie.
Coppola has used the more negative 'Elvis-as-a-manipulator' aspects of the book "Elvis and Me" as the focus of the movie and because of this Lisa Marie tried to intervene.
How embarrassing that between Mother & Daughter and EPE this wasn't resolved.

Coppola has stated that she did not know about Baz Luhrmann's ELVIS project when she started work on "Priscilla' but this is not believable. After all Luhrmann's spent months and months at Graceland.
Priscilla was still CEO of EPE when filming wrapped in 2022 yet EPE would not grant permission for Elvis' music to be used in the film. Surely alarm bells were ringing!

As for the film I found it too boring and with the feel of a low-budget movie. Coppola may have only had 1/4 of Luhrmann's budget but it had the feel of a TV movie.
In the dramatic return of Elvis live on stage you could see the crowd of extras were less than 20 people and Jacob Elordi as Elvis was not only wearing a cheap cotton costume - but also had not practised Elvis on-stage moves at all.
Elvis inhabited Austin Butler, here Jacob Elordi seemed like a poor Elvis imitator.

The Memphis Mafia seemed ever present but basically had no dialogue - was this a script, casting or money saving decision. In 'Elvis' they all had particular roles and looked like the real guys.  
One of the key roles in this film was 'Dodger'. Hardly featured in the Luhrmann movie he still cast a perfect look-alike. In this movie where Dodger played such a pivotal role, she looked nothing like Elvis' skinny-as-a-rake grandma!  
And why was the 'Madison Square' 1972 poster featured right before the map of Elvis On Tour 1969-70?

In her book Priscilla talks about some of the very good times spent with Elvis such as buying her horses and time spent at Circle G. Why was this left out - especially as she has since put her name behind various charities for equine support?
Similarly in the book Priscilla proves she was not a complete subordinate when she attacks a stalking fan,
"Incensed, I clenched my fist and swung an uppercut, hitting her in the face. She landed on the ground, spread-eagled and stunned. I landed on her and the two of us yelled screamed and pulled hair until but I realised I needed help".  Surely this would have made a interesting scene in the movie.
Her short affair with her dance-instructor was left out and it was never really shown that Mike Stone and her had a serious affair.

These would have made the movie more interesting and taken it out of the Graceland bedroom where nothing ever seemed to happen.    

I quite enjoyed the use of the music with some rather good choices (ie Crimson and Clover) but even without permission some more Elvis-related music - even the allowed 10 second snippets or an impersonator playing so far in the background that it MIGHT be Elvis - would have helped.

While I am certain that Elvis' real character was somewhere between the "Glory" of Baz Luhrmann's drama and the meanness shown in this movie, however two hours about a "hard-done-housewife" married to the world's biggest superstar for me was way too boring.
Priscilla could have left earlier, perhaps she should have left earlier, perhaps she shouldn't have kept the name Presley. 

From Barry S
To be honest the film is worth seeing for Cailee Spaeny doing the tricky work of acting as Priscilla over a ten year period. She is good and deserves an award for a challenging role.
However all the other surrounding characters are just vague caricatures. Vernon Presley, the memphis mafia, Patsy, even Colonel Parker is only heard on the phone which is ridiculous as his demands often drive the plot along.
A scene with Ann-Margret would have upped the tension.
Faithful to a lot of the original book, Coppola has grabbed a lot of the negative parts - Elvis's anger, chair throwing, and drug taking but without the positive and exciting aspects that made Priscilla want to stay.
Why did the film not mention what Priscilla actually achieved once free from Elvis's chains.
It would have been fascinating for the end titles to say
"Priscilla opened Graceland to the Public in 1982 - and has been living off the profits ever since"
That would be a clever twist!

From: Lucie D
About the movie Priscilla, "I really don't want to know" about a movie directed by S. Coppola who said that she was glad that Priscilla had left Elvis, and based on the book written by an ex wife with a lot of recollection issues:
-she lived most of her teenage and scholarship with her parents
- she came to live in Vernon's house only a few weeks before her graduation and less than 3 months before her family would be back in USA;
- Elvis bought her a new car 2 weeks after she came to Memphis (because she did not wanna be driven to school by Vernon) :
It's so very far from the little lonely "prisoner" in Graceland who had to study while being the secret Elvis' girlfriend.

-she pretends that her relationship with Elvis wouldn't be secret anymore due to their wedding (Priscilla was introduced in the newspapers as Elvis' girlfriend since 1963, and through the years journalists were betting on a secret wedding for the King long before May 67)
-she pretends that her relationship with Mike Stone would have only started in 1972 (Hookstratten told Elvis about his wife’s affair in1971)
a lot of lies by omission :
-Why did Elvis would have asked a separation during her pregnancy ?
-Why was Elvis so mad at her so many times ? (please check the explanation she gave about the time Jerry Schilling was involved in one of their quarel and the narration of Jerry himself : the explanation is VERY different)
-Why does she let the reader ignore that they had such a difficult divorce, that she at least received money from Elvis for Bis & Beau before the divorce (and then not involved in the settlement) ;
- that Elvis had to hire a fathers' rights lawyer (instead of pretending that he would have been an absent father) ?
-Why is there nothing about the time she made Elvis fire the Memphis Mafia ? (it was in the newspapers at the time she was trying to rule
Elvis' world) etc...
And the problem that I had with the Lurhman movie was that it let the audience believe that Elvis would have been so much succesful due to his manager, not due to an amazing talent for music, charisma, passions for so many things, huge spiritual quest, the fact that he was an avid reader (always looking to learn/to share with his entourge) and -mainly - that Elvis always had a huge respect for his fans.
But to me, the huge difference between those two movies are that Baz Lurhman was celebrating Elvis with admiration; Coppola is bashing Elvis with envy.
A good movie able to show the numerous reasons why Elvis is so admired and the numerous ways he was a human being bigger than life is still to be made. Elvis is not a legend by chance.
Thanks a lot for reading

From: Marina M
I finally got to see the movie "Priscilla" here in Italy. Definitely after a long wait.
I simply think the film sums up what Elvis himself said at the time. "The myth does not always correspond to man".
And Elvis was a stage animal, a beautiful man, with lights and shadows. In short, a human being.
However, I leave the cinema with a lot of questions not about him but about Priscilla.
A real contradiction. A woman who claims that Elvis was the only true love of her life but she has always exploited his name and success. Telling the public about embarrassing private moments especially for her only and beloved daughter.
But this was Elvis' fate. After all, all the women he associated with after his death were generous with their stories.
It's a shame that Elvis never had the right to be heard.
(Translated from the original Italian)

From: Bob P
I actually liked it! I was expecting the worst re the depiction of Elvis character but I thought Jacob Elordi was fine with the script he had to work with. I thought Cailee Spaeny was excellent.
I like Sofia Coppola's style and there was some lovely cinematography ... and I thought the songs suited this movie (actually glad there were no Elvis songs - except the 68 Special). It was by and large Priscilla's story and without a doubt it was Sofia's, and Priscilla's, spin on the story - and manipulated as such.
I guess as a long time Elvis fan I was able to see through that - especially the grooming aspect that many people jumped on the bandwagon with. That was also the case with those lonely, lonely shots at Graceland - yes, it may have been a lonely existence at times for Priscilla, but we all know that the house was full of people that she would interact with.
The many fun and warm experiences were only hinted at, but at least there were some included. I also found the ending very rushed and for non-Elvis fans, the part where Elvis forced himself on Priscilla would not have been fully understood.
The Mike Stone relationship should have been made very clear before that scene.
Overall, I am glad that I watched it .... Now we have to wait for Baz Luhrmann's four hour + version of his movie - if it ever comes to light .... and to see if anything comes of the concert material he has "found".

Please click here to comment - have YOU seen the movie - what did you think?

EIN 'ELVIS" Movie Spotlight: Baz Luhrmann's new biopic 'ELVIS' released on June 24 2022.
It was as far back at May 2014 - eight years ago - that EIN first reported that fellow-Australian Baz Luhrmann had started working on his concept for a stunningly fabulous ELVIS movie. At the time there were plenty of skeptics that didn't believe that this Academy award-winning director of The Great Gatsby, Strictly Ballroom, Romeo + Juliet, Australia and Moulin Rouge could be interested in an ELVIS biopic but we were proved right.
In our in-depth spotlight EIN presents all the stories, interviews and drama that have accompanied this brilliant achievement since those early days of 2014.

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Undoubtedly in any mass-media the dehumanisation of Elvis is a real issue but marketing the man has always been more concerned with the “mainstream” commodification of his name since mid-1950s.
So are these new millennium productions good or bad for how society views Elvis and which one will have the greatest impact?
.. Read the article... Now Updated with YOUR comments
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Elvis, Ann-Margret, the filming of Viva Las Vegas (aka 'Love in Las Vegas'), the slap heard across Hollywood, (and more): The story of the behind-the-scenes filming of Elvis’ best and highest grossing film, Viva Las Vegas (released in 1964), is colorful, and one that had repercussions for Elvis’ subsequent films as well as a rare loss for Colonel Tom Parker.
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Read the full article

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Elvis Presley: The Searcher (HBO film review): EIN's Nigel Patterson takes an in-depth look at Thom Zimny's documentary film about Elvis and his music.

What Nigel finds will surprise many fans. Discover what's The Good and The Bad about this new documentary looking at Elvis' music.

Is the film a masterpiece (the definitive Elvis documentary), over-rated or somewhere in the middle?


Read Nigel's review here

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ELVIS - 'The Wedding' EIN Spotlight- 50th anniversary: Whatever people's own personal feelings are toward Priscilla, Elvis clearly loved her. We can debate whether he was ‘pushed’ in to marriage by outside forces or whether Elvis who belonged to the women of the world should have married at all, but the fact is that Elvis did marry Priscilla 50 years ago today. May 1st 1967 was no ordinary day in Elvis' life.
There were however some odd choices to the day and the ‘last minute’ exclusion of some of those who grew-up with Elvis was a particularly bad and hurtful.
Marty Lacker was Elvis' co-Best Man at the wedding and he has kindly given EIN permission to publish his story of what happened on that famous day.
Go here to Marty Lacker's story with some great Elvis & Priscilla photos

(Spotlight, Source;ElvisInformationNetwork)

Elvis in Literature #3 – ''Elvis's Man Friday' by Gene Smith: Continuing EIN’s occasional series of interesting and (hopefully) thought-provoking Elvis excerpts (references/discussions) found in general literature.
Elvis's Man Friday by Elvis' first-cousin Gene Smith is an often forgotten "insider" memoir.
Elvis and Gene were very close from a young age, and Gene later became a prominent member of Elvis' Memphis Mafia.
In his book, published in hardcover (with dust jacket) in 1994, Gene recounted his time with Elvis in linear fashion, in what was a very readable, entertaining and informative release.

In particular, the reader is informed about a number of unusual things and Elvis' idiosyncrasies.
EIN wonders how many readers knew that Elvis and Gene had (for a while) their own secret language?...

Go to 'Elvis in Literature #3' 'Elvis's Man Friday' by Gene Smith for the whole story, photos and excerpts..

(Spotlight, Source;ElvisInfoNet)

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