It was never going to be easy following Austin Butler. When the first images of the Jacob Elordi Elvis movie—officially titled Priscilla—hit the internet, the comparisons started immediately. People were skeptical. They’d just spent months hearing about Butler’s "Method" voice and seeing him sweat through bedazzled jumpsuits in Baz Luhrmann’s maximalist fever dream.
Then came Sofia Coppola.
She didn't want the stadium lights. She didn't want the "King" of Rock and Roll. Honestly, she wanted the guy who lived behind the gates of Graceland, the one who picked out his wife’s dresses and told her how to wear her hair. To do that, she tapped Jacob Elordi, a 6'5" Australian best known for Euphoria, and the result was something far more haunting than a standard biopic.
The Jacob Elordi Elvis Movie is Actually a Horror Story (Sorta)
If you walk into Priscilla expecting a jukebox musical, you're going to be very confused. There are no Elvis songs. Seriously—not a single one. Because the Elvis Estate famously denied Coppola the rights to the music, the film relies on a moody, anachronistic soundtrack that makes the whole thing feel like a dream—or a gilded cage.
Elordi’s performance isn't about the hip-shaking or the "Thank you very much" catchphrases. It’s about the silence. He plays Elvis as a man who is simultaneously a god and a deeply insecure, controlling partner.
While Austin Butler gave us the myth, Elordi gives us the man through the eyes of a teenage girl. It’s a perspective shift that changes everything. In this movie, Elvis is a silhouette. He’s a looming presence who towers over Cailee Spaeny (who plays Priscilla). The height difference isn't just a physical fact; Coppola uses Elordi’s massive frame to make Priscilla look even smaller, even more trapped.
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How he actually prepared for the role
Believe it or not, Elordi had about three weeks to prep. He’d just finished filming Saltburn (where he played a posh British student) and had to pivot instantly to a Memphis drawl.
He didn't do the "stay in character for two years" thing. Instead, he:
- Watched Lilo & Stitch (he joked that it was his primary source of Elvis knowledge growing up).
- Read Peter Guralnick’s Last Train to Memphis.
- Ate a pound of bacon every single day.
Yeah, the bacon was a real thing. Sofia Coppola mentioned that the real Priscilla Presley told them Elvis loved his bacon "burnt to a crisp," so Elordi used that as a way to physically "bulk up" and find the character’s indulgence. He said it was the heaviest he’s ever been, though on his 6'5" frame, it’s hard to tell.
Why the "Battle of the Elvises" is a Waste of Time
Everyone wants to pick a winner between the 2022 Elvis and 2023’s Priscilla. It’s a natural impulse. But the truth is they aren't even playing the same sport.
Luhrmann’s movie is about the performer. It’s about the lights, the Colonel, and the tragedy of a man being used by the industry. Coppola’s movie is about the person. It’s a domestic drama. It’s a story about a girl moving into a house where she isn't allowed to have a life of her own.
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Critics actually praised Elordi for being "more human" than Butler. Variety’s Owen Gleiberman even noted that while Elordi doesn't look exactly like Elvis, his "louche body language" and vocal cadence felt more like a "dead ringer" than Butler’s more theatrical take.
It’s the difference between seeing a statue and seeing the guy who sits on the couch and complains about his career. Elordi’s Elvis is often petulant. He’s moody. He’s capable of throwing a chair near Priscilla's head one minute and being a "vulnerable best friend" the next. It’s a messy, uncomfortable portrayal that doesn't try to make you like him.
The real Priscilla's verdict
If you’re wondering if the family hated it, the answer is complicated. The Elvis Estate wasn't a fan (hence no music), but Priscilla Presley herself was an executive producer.
She sat with Cailee Spaeny for four hours, retelling her life story. She even told Elordi he "got the voice right," which he said was the only validation he actually needed. When the film premiered at the Venice Film Festival, Priscilla was there, visibly moved by seeing her life—the good and the very dark—played out on screen.
What most people get wrong about the film
The biggest misconception is that this is a "hit piece" on Elvis. It’s not that simple. Coppola is known for her "understated" style—she doesn't shout at the audience. She just shows you what happened.
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You see the 24-year-old Elvis meeting a 14-year-old Priscilla in West Germany. You see the power imbalance. You see him giving her pills to help her sleep and then being upset when she’s too groggy to wake up. It’s not a "villain" arc; it’s a portrait of a toxic relationship that was normalized at the time.
- The Music: The absence of Elvis's hits forces you to focus on the dialogue and the tension. It makes Graceland feel like a quiet, lonely museum.
- The Timeline: The film covers 1959 to 1973. Spaeny and Elordi reportedly acted as "study buddies," cataloging every year of the relationship to make sure the aging felt natural despite the filming being out of order.
- The Ending: Without spoiling the final shot, it’s one of the most quiet, empowering exits in cinema. It’s not about Elvis’s death; it’s about Priscilla’s life beginning.
Actionable steps for your watch party
If you're planning to dive into the Jacob Elordi Elvis movie, don't watch it immediately after the Baz Luhrmann film. You'll get whiplash.
Instead, watch it as a companion piece to Coppola’s other "girls in gold cages" movies like Marie Antoinette or The Virgin Suicides. Read a few chapters of Priscilla’s memoir, Elvis and Me, before hitting play. It helps to understand that every weird, specific detail—from the height of her hair to the specific brand of cigarettes—is pulled directly from her real-life memories.
Pay attention to the lighting. When they are in West Germany, the colors are muted and "Army" drab. When she gets to Vegas and Graceland, the colors pop, but they feel artificial, like a dollhouse. It’s a masterclass in visual storytelling that explains Elordi’s character better than any monologue could.