Cailee Spaeny, born in the late ’90s, and graced the screen as Priscilla Presley in Sofia Coppola’s captivating biopic “Priscilla” (2023), securing the Volpi Cup for Best Actress and a Golden Globe Award nomination. Hailing from Tennessee but molded in Springfield, Missouri, Spaeny’s journey unfolds from the Springfield Little Theatre’s vibrant stage, where she once embodied Dorothy in The Wizard of Oz during the 2014–2015 season.
Her acting prowess emerged with the 2016 short film “Counting to 1000,” paving the way for notable roles in films like “Pacific Rim Uprising” (2018), “Bad Times at the El Royale,” “On the Basis of Sex,” and “Vice.” Spaeny’s talent further shone in the miniseries “Devs” (2020) and “Mare of Easttown” (2021), along with a leading role in the horror film “The Craft: Legacy” (2020).
In 2022, Spaeny portrayed Anna Roosevelt Halsted in “The First Lady” series, showcasing her diverse acting range. The following year marked her compelling return to the big screen, embodying the strength and melancholy of Priscilla Presley in “Priscilla.” Owen Gleiberman of Variety praised her performance, earning her the prestigious Volpi Cup at the Venice International Film Festival.
The journey continues as Spaeny is set to grace audiences in the upcoming science fiction film “Alien: Romulus” and the action-packed “Civil War.” Her evolving career stands as a testament to her ability to bring depth and authenticity to every role she undertakes.
Sofia Coppola’s “Priscilla” is a poignant portrayal of the relationship between Elvis Presley (Jacob Elordi) and Priscilla Beaulieu (Cailee Spaeny). The film follows the couple’s romance from their first meeting in Germany, where Elvis was stationed as a US Army soldier, to their marriage and life together at Graceland. Coppola’s direction is masterful, and she expertly captures the complexities of power dynamics and solitude in the relationship.
Elordi’s portrayal of Elvis is seductive yet quietly sinister, revealing his need for control in both his private and public life. He is perfectly complemented by Spaeny’s stunning performance as young Priscilla, capturing her naivety and steely curiosity. The chemistry between the two actors is palpable, and they bring the couple to vibrant life in a movie that soft-pedals nothing.
The film is based on Priscilla’s 1985 memoir “Elvis and Me,” and Coppola’s adaptation honors the author by giving us her perspective. The details and atmosphere of Priscilla’s bizarre married life, its stretches of boredom and silence, all seem very real. As an insider account, this is a welcome corrective to outsider fantasies of Elvis, and it redoubles what I think of as Coppola’s reputation as the Betty Friedan of 21st-century cinema, presenting us with her distinctive take on feminine mystique.
Coppola’s screenplay is sharply attuned to the inability of women to resist assertive men as well as the struggle to hold on to the individual self when confronted by stardom. Among the striking images is the opening shot, of Priscilla’s feet gingerly navigating a heavily carpeted floor. The film follows a linear storyline neatly divided into three parts: Elvis sweeping the 14-year-old Priscilla off her feet, their marriage and life together at Graceland, and the couple’s eventual separation.
In conclusion, “Priscilla” is a sobering yet heartfelt look into the Elvis universe in a way audiences have never experienced before. The acting is superior, the directing and the story a triumph, and the 1950s/1960s era is wonderfully captured. This is a film “experience,” offering a poignant portrayal of isolation and a delicate portrait of a relationship under the flashlights.
Neill Frazer
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