Elvis Presley
Sofia Coppola’s films are suffused with the bittersweet inevitability of adolescence: a period of life that changes you irrevocably and comes with an in-built ending. Anyone who has studied History at high school knows the outcome of Marie Antoinette (2006). In The Virgin Suicides (1999), it’s right there in the title. This sense of languid doom has never been more apparent than in Coppola’s new biopic Priscilla (based on its subject’s own memoir, Elvis and Me (1985, with Sandra Harmon). We already know how this story ends – so the writer-director invites us to take the scenic route, emphasising texture and psychology over drama and causality.
... (read more)Crafting a biopic is a near-impossible act of curation; of the hundreds of thousands of hours that make up a person’s life, which two and a half will accurately sum up their entire existence? Some recent attempts, like the excellent Steve Jobs (2015) or the Judy Garland biopic Judy (2019), limit their slice of life to a handful of defining moments and allow the viewer to extrapolate from there ...
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