When teenager Priscilla Beaulieu (Cailee Spaeny) meets Elvis Presley (Jacob Elordi) at a party, the man who’s already a meteoric rock ‘n’ roll superstar becomes someone entirely unexpected in private moments: a thrilling crush, an ally in loneliness, and a gentle best friend.

The story of Elvis and Priscilla is a legendary romance that came to symbolize the quintessential Hollywood love affair. Their jet-setting romance was legendary, with both of them leaving a mark on the very fabric of pop culture. Through the lens of extraordinary vision, celebrated and auteur filmmaker Sofia Coppola, the story of the Presleys comes to light in a bold new conception that celebrates the King and Queen of Memphis. And audiences will easily get caught up in it. While you may think you know the Elvis story, Coppola’s film is not in keeping with the same style or tempo as Luhrmann’s acclaimed biopic. Instead, Priscilla sheds new light on the Elvis mythos via her perspective and the journey from girlhood to womanhood that she undergoes during the film’s narrative.

Framed uniquely from the point-of-view of Priscilla herself and adapted from her autobiography Elvis and Me, we follow Priscilla as a 14-year-old as she first meets Elvis while he’s stationed in Germany in 1959, and a relationship builds between the two of them that sees her moving to Graceland, and eventually marrying the King of Rock n’ Roll. It’s a whirlwind fantasy story as she falls into the fun and excesses of Elvis’s superstar Hollywood life. But the glitter of the party soon begins to fade as Presley’s antics, via the encouragement of his ‘Memphis Mafia’ leaves Priscilla weary, alone and isolated; it’s a side of the Elvis story that we’ve never really seen before. Coppala’s attention to Priscilla’s frame of mind and emotional vulnerability gives the film a dramatic edge that will leave audiences curious and surprised.

As a cinematic experience, Priscilla is beautiful. Coppola and her team re-create the glamour of the late 1950s to mid-1960s, and the resulting images are a visual spectacle for the eyes. Utilizing a range of crisp pastel colours and evoking the classic Hollywood style of the decade, the ambience of Presley’s jet-setting, glitzy lifestyle is infectious to witness, and you genuinely get the feeling of what it would have been like to live that life. Special praise must be given to cinematographer Philippe Le Sourd, who re-teams with Coppola following their work on The Beguiled, and again, they spin more of that special kind of magic on this picture. Le Sourd baskes the film in a glow of soft light that helps solidify the emotion and makes for a gorgeous presentation.

Cast as Priscilla Presley and given the role of bringing her story to life is rising star Cailee Spaeny, and she is an absolute revelation in part. Through Spaeny’s performance, we witness the growth of Priscilla’s journey from girlhood to womanhood, and she undergoes a considerable pattern of change as she falls into the world and rhythms of Graceland. In terms of a word to best describe Spaeny’s performance, the word ‘sincere’ works best, and Spaeny is very sincere in her representations of Priscilla’s journey throughout the film. She has a great range of emotions that she gets to play with in her performance as Priscilla and is true in keeping to her portrayal and honouring the real life that Priscilla led.

Starring opposite Spaeny’s Priscilla is Jacob Elordi, and his presence and swagger in the portrayal of the King is precisely why he’s tipped to be one of Hollywood’s newest A-listers. Elvis Presley was a massive personality of grand talent, and that’s precisely why Elordi is a fantastic fit for the role. He fits the mould of the Hollywood dreamboat, and ever the professional works hard to step into Presley’s shoes and bring Elvis to life. His portrayal of the King makes for a complex performance, with his Elvis being both true and loving to Priscilla but almost stuck in his sense of ‘arrested development’ that has afflicted him due to his sudden youthful fame. We also see a volatility in Presley and a sudden ‘Jekyll and Hyde’ persona in Elordi’s presentation of Presley that grows from the pressures around him. It’s a brave performance from Elordi and shows how far his range will take him in Hollywood.

Priscilla is an exceptionally intriguing and passionate film with a unique rhythm and style that will keep audiences on their toes. It presents the unexpected side of the Presley mythos that we have never seen before. All those involved have put in a lot of effort to make it a beautiful and exceptional watch.

Image: MadMan Films

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Check out our favourite films of 2022 below:

Honourable Mention: Barbarian

Unbelievably original and freakishly scary, writer/director Zach Cregger’s Barbarian was one extremely clever piece of horror that came right out of left field and delivered on all the terror. From its foreboding opening scenes to the excessive gore of its closing moments, Barbarian was a hell of a watch, and it really put the fear into audiences. This was a film that was unexpected and completely took audiences by surprise and its jump scares and repellent horror elements made for one of the best horror experiences of the year.

10. Cyrano

Noted filmmaker Joe Wright returned behind the camera for the opulent tale of the historical classic Cyrano de Bergerac in Cyrano, and this musical-historical-romance was a cinematic extravaganza. Show with a very luxurious eye and styled with beautiful baroqueness this film explores the very notion of love and its control over our souls. Peter Dinklage again commanded the very centre of the screen and as an audience member you could not but be caught up in the beauty and elegance of this amazing work.

9. Nightmare Alley

Visionary director Guillermo del Toro brought his unique gothic sensibilities to the outlaw carnival realm of the 1930s in his gripping and intense psychological thriller Nightmare Alley. And the result was film noir with a mean sense of bite. Re-adapting William Lindsay Gresham classic thriller to the big screen, del Toro narrowed in on the complexities of power and the dark side of man as Bradley Cooper’s ambitious carnie Stanton ‘Stan’ Carlisle would do anything for fame and fortune. With its dramatic scale and nerve-racking vigour, Nightmare Alley was a cinematic experience that kept audiences on edge the whole way through.

8. The Northman

A cinematic experience of full force, Robert Eggers’ The Northman was a teutonic movie of epic power and bold mythology and in watching it you felt the full fury of the Viking Age. Balancing the blood-letting ferocity of the past with the mysticism of the pagan era, The Northman was a beast of a movie and its savage power made you sit up in your seat. Alexander Skarsgard went to an extreme edge to become the murderous Prince Amleth, and this was a cinematic presentation that hit with the force of a battle axe!

7. Parallel Mothers

Renowned for his mastery of the cinematic arts, Pedro Almodóvar’s Parallel Mothers was a piece of cinema that completely wrapped you up in the complexity of its layered storytelling and its dramatic severity made a lasting impact on the audience. Exploring themes of love, motherhood, family, trauma and history, Parallel Mothers was a film that surprised you at every moment and its narrative turns led to plenty of shocking exposition. Penélope Cruz and Milena Smit created a very meaningful sense of chemistry between one another, and all of Almodóvar’s creativity and focus were refined down in this picture.

6. The Batman

With a brooding film noir presence director Matt Reeves brought the Dark Knight back to cinemas and this was a new type of Batman that audiences had never witnessed before. Laced with shadows and psychological complexity, The Batman was a rough and tumble portrait of an all-new Batman and it made for a very severe watch. Robert Pattinson brought a new quality to his obsessive and extreme portrayal of Bruce Wayne/Batman, which was matched with the seductive sensuality of Zoe Kravitz Selina Kyle/Catwoman. Then there was the psychopathic villainy of Paul Dano’s The Riddler and the old-school gangster bravado of Colin Farrell’s The Penguin, and all of it made for a new kind of watch. The Batman was bold and operatic in its cinematic presentation and its opening 20 minutes is some of the best cinematic presence ever captured on film. A new Dark Knight rose with The Batman, and audiences were spellbound.

5. Avatar: The Way of Water

After 13 years visionary filmmaker James Cameron returned to cinemas with the much-awaited sequel to his 2008 triumph Avatar, with Avatar: The Way of Water, and this was an utter masterpiece. Pushing the art of cinema further than it had ever been pushed before, Avatar: The Way of Water dialled up the technology of its storytelling to present an utterly beautiful presentation, and the action and intensity of this film ran at speed. Cameron jumped on the accelerator with this picture, and for those lucky enough to see it in IMAX, this was a film that delivered on the sheer scale that only cinema can present.

4. Mrs. Harris Goes to Paris

With its heartfelt storyline, loveable characters and gorgeous haute couture style, Mrs. Harris Goes to Paris was simply one of the best films of the year and audiences would be spellbound by its presentation. Anchored by a flawless performance by Lesley Manville, Mrs. Harris Goes to Paris was a beautiful movie-going experience right from start and you couldn’t help but get wrapped up in the lovely little story. Every part of this production came together with a beautiful sense of refined elegance and it was an utterly magical piece of cinema to watch.

3. The Menu

In terms of cinematic satire, nothing was sharper this year than director Mark Mylod’s The Menu and from beginning to end audiences were in for one hell of a shock. With a pitch-perfect cast, clever narrative, elegant decor and acute moments of horror, The Menu was horror cinema with a pulse and it certainly served up something new to the genre. Anya Taylor-Joy and Ralph Fiennes engaged in one hell of a standoff in this picture, and the shock factor of this picture kept the audience guessing at every single moment.

2. Top Gun: Maverick

In 2022 Hollywood superstar Tom Cruise once again stepped back onto the flight deck and buckled in for the adrenaline rush of Top Gun: Maverick as Captain Pete ‘Maverick’ Mitchell, and this was a film that pulled audiences right back into the danger zone. With its non-stop adrenaline, heartfelt nostalgia and cinematic technology that put you right into the centre of an F-18 at full velocity, this was a blockbuster extravaganza and it was a picture that brought audiences back to the power of the cinema. From beginning to end, Top Gun: Maverick was a rush of energy and fun, and audiences looking to have their adrenaline maxed out were well rewarded by this picture. It was just AWESOME!

1. Elvis

But when it comes to the cinema of 2022 one film reigned supreme and that was Baz Luhrmann’s auteur rock ‘n’ roll epic Elvis! And damn did this picture groove. With his unique sense of glamour, style and pop energy, Luhrmann brought the life of the King of Rock ‘n’ Roll , Elvis Presley, to the cinema as only he could. This was a film of pure spectacle and marked rising star Austin Butler as one performer to seriously keep an eye on. His commitment was complete and total and he rocked out completely as The King! Elvis was a cinematic experience of pure energy and you found yourself fully grooving out in your seat with this picture, and watching it in the dark of the cinema, with a full audience around me was one of the best experiences of the year.

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The film chronicles the life and career of singer and actor Elvis Presley (Austin Butler), from his early days as a child to becoming a rock and roll and movie star, as well as his complex relationship with his manager Colonel Tom Parker (Tom Hanks).

When it comes to filmmakers they don’t come more flamboyant or visionary than Baz Luhrmann. His works, including Strictly Ballroom, Romeo + Juliet, Moulin Rouge!, Australia and The Great Gatsby, speak for themselves in terms of narrative commitment and sheer visual spectacle, and now this cinema visionary turns his attention to capturing the energy and spirit of Elvis Presley in Elvis. And what a show it is. Under Luhrmann’s direction, every part of this film comes together. Narrative, casting, location, production design, costume design, set dressing, hair and make-up, cinematography, sound editing and one hell of a score. It’s a complete and utter event. Luhrmann gives everything of himself to capturing the life that belonged to Presley, and this film will draw out all of your emotions as you watch it.

Chronicling the entire lifespan of Elvis Presley from his early years as a teenager in Memphis to his final decline in Las Vegas, Elvis delivers its narrative from a very interesting point of difference from other biographical pictures. This is Elvis’s life told from the perspective of his long-time promoter Colonel Tom Parker. The villain of the story. And this narrative device makes for a very interesting frame to explore Presley’s life. This viewpoint provides a real edge to the narrative of Elvis and is a sign of Luhrmann’s absolute control of cinematic drama. As a cinematic experience, Elvis is rich in visual splendour, and is what I would describe as an ‘Americana Opera’. It’s lavish and colourful and gripped with a strong presentation of glamour and sex appeal. Watching Elvis is an absolute rush, and you’ll be gripped minute by minute by this story of the boy from Memphis who by strumming his guitar learned to fly.

While Baz Luhrmann might have had the vision for this film, Elvis finds its voice, presence and soul in Austin Butler, a young performer of fantastic talent. And Butler gives one of the all-time great performances in this picture. When you look upon Austin Butler as Elvis Presley, you’re not seeing an actor, you’re seeing Elvis. Devoting over three years of his life to the role of Presley, Butler brings a soulful and present performance to The King. Butler does the astonishing feat of bringing out the man behind the icon. Breathtakingly handsome and full of strut, Butler is the x-factor defined as Presley in this film. As a performer, Butler exists moment by moment in the character of Presley and presents a full portrait of Presley as performer, husband and father. While Luhrmann’s film is wrapped in the icon of Elvis, it’s the soul of this man that shines through, and it’s Butler’s commitment to Elvis that ensures this.

Playing off of Butler’s Elvis is two-time Academy Award winner Tom Hanks in the role of the film’s narrator, the infamous Colonel Tom Parker. And Hanks makes for a marvellous theatrical villain in this piece. As a quick-thinking carny who is always searching for a new act to make a sucker out of the rubes, Hanks’s Parker seeks out the young Presley like a predator and soon has him gripped in a vice of his own making. Hanks’ Parker is a user of the young Presley and through Luhrmann’s presentation, he’s a complete villain. But Parker’s a complex man, and while he finds a good thing with Presley, he also cares for and loves this young man and there’s a deeply paternal side to his actions. We see Hanks toil with these extremes of thoughts and emotions concerning Presley, and it gives the picture much of its drama.

Luhrmann’s Elvis is a complete portrait of the singers’ life and the turbulent eras that he came to define and then re-define in the process. From the mid-1950s to the late 1970s we see Elvis’ stratospheric rise and shocking decline in full four-colour detail. Along for the ride are an eclectic group of characters including his notorious entourage, The Memphis Mafia, and his one true love Pricilla, who is portrayed on screen in an impressive performance by Olivia DeJonge. As Elvis’ confidant, conscience and lover, DeJonge is a revelation as Priscilla and we witness the complex, and at times turbulent life, that they shared. DeJonge and Butler have terrific chemistry and DeJonge showcases the deep love and care that Pricilla felt for Elvis and the sorrow that she experienced in watching the decline that followed him in the early 70s. They say that a man is only as strong as the woman he loves, and Priscilla was Elvis’ everything, and DeJonge’s performance is a tribute to this incredible woman.

From start to finish, Elvis is an utter piece of art come to life. Made with peak creativity, and Luhrmann’s trademark flamboyant style, this is a picture that your eyes will be transfixed on, and you won’t want to look away. The imagery has immense flair and energy and this Americana Opera is bright, opulent and bursting with life. From the blues-influenced groove of Beale Street and Memphis to Presley’s conquest of Hollywood, his bold and groundbreaking comeback special in 1968 to the gilded, sparkling cage of Las Vegas that he’s finally locked away in, Luhrmann captures it all as only he can. Elvis is a pure spectacle and there’s a showman quality to Luhrmann’s presentation of it that I believe Presley would deeply have admired. As an artist, he was a man who left everything on stage and Luhrmann does the same thing in this picture. The audience comes first in Elvis and the spectacle before our eyes is immense.

This bold and striking style applies to every part of the film and playing into this fairy tale is the film’s beautiful costuming and the masterful eye of Luhrmann’s frequent collaborator and wife Catherine Martin. And her work on Elvis is perfect. In a special collaboration with Prada and Miu Miu, Martin recreates the style of the 1950s, 1960s and 1970s with complete glamour and spectacle. And after watching Elvis you’ll be reaching out for your blue suede shoes. As an exercise in filmmaking, Elvis is a product of picturesque artistry and clear attention to detail. Every member of the cast and crew gave 110% dedication to this production, and this level of care and love for The King and his story shines through in every frame. It’s just spectacular.

When talking Elvis, you can’t skip past the music, and Elvis will have you grooving out in your seat. Taking The King’s list of accomplished hits and remixing it with modern artists including the likes of Doja Cat, Eminem and CeeLo Green, Swae Lee and Diplo, Kacey Musgraves, Jack White, Nardo Wick and Måneskin, keeps the experience fresh. My favourite scenes revolved around Elvis’ life in Beale Street, where Elvis’ life started and the music is rocking in these moments. Along with the artists who assisted the film, praise must also be heaped on Austin Butler himself and his silky smooth voice is transcendent as he samples the King’s hits and melds his voice with Presley. Nailing all of the King’s songs in perfect rendition, Butler’s vocalisations are another way for him to connect with the spirit of Presley and in these moments when he is singing on stage he reaches that transcendent place of expressing who Elvis truly was.

It’s been a long time since I’ve been this animated in a cinema and I can clarify that I was feeling my groove with Elvis. This is an extraordinary film of immense passion, creativity and pure showmanship. It’s an event-level movie that will touch your soul with its love and devotion to its subject. The experience that I felt watching Elvis is the reason why we choose to go to the movies and this picture is a testament and tribute to the man who would be The King of Rock N Roll.

Image: Warner Brothers Pictures

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