It’s the peak of the Oscar biopic season, where we witness the stories of historical figures, predominantly white men, overcoming obstacles to achieve greatness. While many of these films follow a formulaic approach, deviating from traditional biopic tropes can breathe new life into the genre. This year, two films challenge the cliché of the supportive wife, delving into the experiences of being married to extraordinary men. Sofia Coppola’s “Priscilla” explores Priscilla Presley’s relationship with Elvis Presley, highlighting his abusive and controlling behavior. On the other hand, Bradley Cooper’s “Maestro” centers around Leonard Bernstein’s wife, Felicia Montealegre, played by Carey Mulligan. These films complicate the public images of iconic men and expose their flaws.
Priscilla” uncovers the harsh reality of Priscilla Presley’s marriage to Elvis. The film doesn’t shy away from the uncomfortable age gap between Priscilla, just 14 years old when they meet, and Elvis. It showcases Elvis’ strict expectations and how he dominates every aspect of Priscilla’s life, from her appearance to their intimate moments. It reveals the dark side of their relationship, including Elvis’ addiction to pills and his abusive behavior. Priscilla’s story transcends Elvis’ reign as the King of Rock ‘n Roll, shedding light on a young woman grappling for agency.
Similarly, “Maestro” breaks away from the traditional biopic format by portraying Leonard Bernstein’s life through the lens of his marriage. The film captures Bernstein’s charisma and energy, showcasing his famous performances and vast musical repertoire. It uses music creatively to punctuate scenes, immersing the audience in Bernstein’s world. However, “Maestro” also delves into the experiences of Felicia Montealegre, Bernstein’s wife. The film showcases their early years together, depicted in black and white, filled with joy and enchantment. As the years pass, their marriage becomes strained, with rumors of Bernstein’s affairs plaguing their relationship. The movie explores the complexities of their partnership, shedding light on Felicia’s role as a supporting act to her larger-than-life husband while hinting at her own accomplishments as an actor.
While “Maestro” strives to present a nuanced perspective, it falls short of fully exploring Felicia’s story. The movie could have taken a more focused approach, allowing Felicia to take center stage or even telling the story entirely from her perspective. This would have added another layer of intrigue to the film, given Carey Mulligan’s exceptional performance. However, the film still maintains its title, “Maestro,” firmly establishing Bernstein as the central figure.
In conclusion, this year’s Oscar biopics challenge the traditional tropes, providing a fresh take on the genre. “Priscilla” and “Maestro” explore the experiences of women married to iconic men, complicating the narratives and exposing their flaws. These films offer a glimpse into the lives behind the legends, reminding us that there is more to these stories than meets the eye.
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