The dazzling charm of Elvis Presley’s Graceland home is transformed into a prison in Sofia Coppola’s latest film, “Priscilla,” which depicts the infamous relationship between Elvis and his much younger wife.

The film is written and directed by Coppola and is based on the 1985 memoir “Elvis and Me” by Priscilla Presley, who is also an executive producer of the film.

The film features Elvis’ cheating, temper and emotional abuse as a centerpiece of Priscilla’s complicated narrative. Coppola and Presley herself do not shy away from showcasing the relationship’s ugly forms.

But this film isn’t about Elvis. His songs aren’t featured. There are no dazzling montages of his stardom. Instead, large swathes of the film show Priscilla wandering Graceland, waiting by a phone — waiting on her husband to act like one.

We first see Priscilla (Cailee Spaeny) alone in a diner in Germany, where her family — and Elvis — were stationed in 1959.

Later, when the 14-year-old Priscilla first meets Elvis at one of his parties, he proclaims he is lonely. He misses his mother; he needs someone like her.

As the two’s relationship develops, there isn’t much dialogue between them. Ironically, their lack of chemistry works here. Priscilla is an object to Elvis, so there isn’t much conversation to be had.

There’s quite a bit of Priscilla arguing against her well-meaning parents’ objections to this relationship, with all of it centered on: “He needs me.” It’s clear she is engulfed in the narrative of loneliness he created.

Priscilla trusts him, and she loves him. The same cannot be said for him.

Eventually, Elvis arranges for Priscilla to move to Memphis and finish high school there. Isolated from her family, she can be seen walking around an empty Graceland and sitting on the pristinely kept furniture as if she’s scared to break it. At this point, the house feels larger than life, and eerily still.

After Priscilla graduates, we see Elvis leaving constantly to film, go on tour and do anything other than be with her — and Priscilla is never allowed to go with him.

Confined to the halls of Graceland, she paints her nails, she gets her hair done, she looks out the window. She doesn’t do anything.

Despite the film’s source material, the dialogue is slim and the audience is only clued into how Priscilla feels from long, lonely shots of her face as she longs for a life outside the polished prison of Graceland.

Elvis molds her into his dream woman — picks her clothes, instructs her on how to do her hair up and line her eyes — but Priscilla never says anything but, “All right.”

Priscilla’s lack of autonomy and agreeable nature is only effective as a plot device because of Coppola’s unique touch. Priscilla’s reliance on Elvis and her complete lack of self is conducive to this unbalanced power dynamic. Priscilla doesn’t have anything to say because she doesn’t know who she is, or what she wants. 

Elvis’ temper in the movie is sure to enrage some die-hard Elvis fans. In one scene, he can be seen throwing a chair at Priscilla for saying she didn’t like a song.

In another, the pair are play fighting and he hits her roughly with a pillow. In another, he manhandles her after she confronts him about an affair.

Elvis (Jacob Elordi) is unlovable here. A shallow doofus, he hangs around with his friends, nicknamed the Memphis Mafia, more than he attends to the woman he trapped in his house.

Elordi isn’t the best Elvis, and I think that’s the point. He is just a man here. A stupid, temperamental man who is far more in love with himself than anyone else in the room.

“Priscilla” is largely a film of silent moments. Priscilla is alone in almost every scene, with a somber look and an eye out for her demanding husband.

The film shines in its ending, as Priscilla drives away from Graceland after the pair’s divorce.

She is once more alone, but for once she doesn’t look so demure, as the trees whip past to Dolly Parton’s “I Will Always Love You.”

“Priscilla” is showing in theaters.