2 New Movies Take The Oscar Biopic In A New Direction

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Marina Fang (she/her) is a senior culture reporter at HuffPost, based in New York. She primarily covers film and television, examining their intersection with politics, race and gender. Previously, she was a breaking news and national politics reporter, which included managing much of HuffPost's evening and weekend coverage of the 2016 election.

Cailee Spaeny as Priscilla Presley in Sofia Coppola's"Priscilla," and Carey Mulligan and Bradley Cooper as Felicia Montealegre and Leonard Bernstein in"Maestro."It’s that time of year: Oscar biopic season. You know that kind of movie: the one in which a historical figure overcomes some obstacles to achieve something that’s now in the history books.

Sofia Coppola’s “Priscilla” follows Priscilla Presley through her courtship with and marriage to Elvis Presley , marked by his abusive and controlling behavior. And in “Maestro,” which Bradley Cooper directed, co-wrote and stars in as Leonard Bernstein, it’s Carey Mulligan who, for me, gives the film’s far more interesting and complex performance as Bernstein’s wife, Felicia Montealegre.

This story and its lens seem naturally suited to a filmmaker like Coppola, who often explores the lives of girls and young women who’ve been oversimplified or misunderstood. It’s a thread that runs through much of her work, including “The Virgin Suicides,” “Marie Antoinette” and “The Bling Ring.”The film contains all of the period detail and the sumptuous costume and production design that’s a signature part of Coppola’s films.

But fairly early on, it becomes clear that this story is also about Felicia and what it was like for her to be married to someone who dominated every room he walked into and was the life of every party. Notably, the first half of the film, taking place in the early years of their relationship and marriage, is shot in black and white. The two happily host parties and do joint TV interviews, painting a picture of storybook magic.

But we know why the movie is called “Maestro” and why it can only take this halfway approach. The unfortunate truth is that we likely wouldn’t have either of these big-screen stories about Priscilla Presley and Felicia Montealegre if it weren’t for their marriages to their more famous husbands.

 

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