Sofia Coppola, faithful to the themes and style of her cinema, shows Priscilla in the shadow of Elvis, imprisoned in Graceland and in her condition as a woman perpetually overshadowed by the superstar.
Emptiness, moments of solitude, impossibility of expressing herself, many aspects already addressed by the director and it is interesting to make comparisons with Marie Antoinette, and the two women in question have different affinities in how they are exposed but also divergences.
Graceland like the court of Versailles, Elvis like King Louis, both female figures must submit to dogmas, be it the court of Versailles or Elvis' career, both are unable to express themselves and live their lives to the full, however, while on the one hand Marie Antoinette finally accepted her destiny and role, remains at the king's side, Priscilla will have her escape, her evasion in an ending scenically similar to that of Marie Antoinette but in some respects much closer to Somewhere in meaning.
The gates that open, the car leaving Elvis' estate recalls the carriage where Marie Antoinette leaves Versailles but for Priscilla this act is not "forced", it is her choice, the pussy's desire to escape from everything. The car is black like Johnny's Ferrari, the protagonist of Somewhere, and both characters escape from their condition.
Sofia Coppola's directorial choices are interesting in constructing the shots, in how to frame Priscilla, highlighting her small stature in contrast to the other characters, Elvis above all but also the scenarios.
The contrast between the couple is evident, just as the choices of where to place Priscilla on the scene speak clearly, often at the edges of the frame.
The themes, the style of the film are in line with the director's other films, solitude, apathy and therefore also the tones of the film, the story is experienced with a certain detachment.
The pop tones mix with the darker moments, staging , photography are of a good standard.
When Priscilla receives the phone call from Elvis, sunlight pours in through the window as if to emphasize the happiness of the moment for Priscilla, but in the entrance to Graceland she will often be dominated by the environment, "small" in comparison to everything, both to Elvis and to the whole situation itself.
Following rules, having limits, not being able to express one's tastes, it is Elvis who chooses his clothes for example they highlight and emphasize Priscilla's condition and her role, totally underlying and exclusively a function of Elvis.
Interesting how Elvis shows his machismo, guns, friendships, the pillow fight scene expresses how the superstar cannot accept of "losing" against Priscilla, not even in such a harmless game.
This aspect contrasts with the present shadow of Colonel Parker, it is he who dominates Elvis, who makes and imposes choices, in the film the figure of the colonel does not is shown but his presence is still perceptible through phone calls and the succession of Elvis' choices.
The machismo expressed by the latter can be read as a reflection of his "submission" towards the colonel.
Evident when he decides to burn the books, always under Parker's will, when instead previously, always on the same topic, he doesn't listen to Priscilla, he prefers to continue reading rather than indulge the desires and sexual needs of his partner.
The sexual dissatisfaction is another parallel found with Marie Antoinette, many beautiful and similar scenes where both women run away and cry for their respective unhappiness caused by their partners.
Marie Antoinette runs away because she is the only one among the court aristocracy to not to get pregnant, in the scene he isolates himself and then cries after witnessing a birth, in the parallel with Priscilla, Elvis while acting as spiritual leader, with all the girls in front of him, flirts with one of them, Priscilla leaves the room, she is in tears and Sofia Coppola immortalizes her in a beautiful shot where the protagonist's entire face is dark except for a third of her face which presents a beam of light
Priscilla must be present, accepting the long periods of solitude, for Elvis, to indulge him, satisfy him (and not sexually), not being able to express his judgments, opinions or even choose how to dress.
Among the pop moments, which Sofia Coppola often includes in her films, there is a reference to Baby One More Time by Britney Spears. Priscilla is at school, Sofia Coppola frames the legs under the desk and then frames the hand shaking the pencil, it is practically the opening scene of Britney's video clip.
Film that develops entirely from the point of view of Priscilla who narrates therefore on an unlived love relationship, on distances, when at the beginning of the film Elvis gets out of the car after serving in the military, is attacked by a group of girls and Priscilla remains there in the middle of the crowd.
She may also be "chosen" by Elvis, but Sofia Coppola, playing between the different heights, shows a relationship between the two that is never balanced on the same level and this time, unlike Marie Antoinette, Priscilla will decide to escape from captivity.
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