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Those heartfelt Elvis Presley love songs will probably sound a bit sour after watching the new biopic "Priscilla."

Based on Priscilla Presley’s 1985 memoir “Elvis and Me,” the stylized drama (★★½ out of four; rated R; in select theaters Friday, nationwide Nov. 3) chronicles the early relationship and tumultuous marriage between Priscilla (Cailee Spaeny) and Elvis (Jacob Elordi). But don’t go in expecting a retread of last year’s “Elvis.” With “Priscilla,” co-writer/director Sofia Coppola (“Lost in Translation”) presents Elvis as the toxic King of Rock 'n' Roll, successfully giving their love story a distinct perspective, though one lacking character development or any significant nuance.

Spaeny, whose biggest roles to date are “The Craft” and “Pacific Rim” sequels, is the real find here, gamely playing the title character from a young teen to her late 20s. In 1959, Priscilla is a 14-year-old ninth grader feeling bored and stuck in Germany, where her Air Force dad (Ari Cohen) is stationed, when a young military man asks if she likes Elvis Presley, then a soldier overseas in the Army. She gets permission from her reluctant dad and mom (Dagmara Dominczyk) to attend a party at Elvis’ place. 

“You’re just a baby,” the 24-year-old music superstar says – the first of many times the sentiment is expressed about their massive age difference and the fact that she always looks like a kid next to him. (With a bouffant hairdo, she still doesn’t come up to his shoulders.) Even considering the time period, it’s a creepy sight for 2023 eyes but they do hit it off, sharing a strong sense of homesickness. The time comes when he has to return to the States, years pass as he focuses on his movie career, and finally, she convinces her parents to let her finish up school in Memphis, Tennessee.

Priscilla soon figures out that she’s only traded one cage for another: He’s often off making movies, leaving her alone at Graceland to read magazine reports of rumored dalliances with co-stars Ann-Margret and Nancy Sinatra – not to mention endure side-eye from jealous classmates. And when Elvis is around, he’s increasingly controlling in every aspect, including her makeup and the color of her wardrobe. (Mr. “Blue Suede Shoes” is not a fan of brown!)

'A child playing dress-up’:‘Priscilla’ movie doesn’t shy away from Elvis age gap

She wants to work at a boutique after school, but he says no. She wants to be intimate, but he brushes her off. He flies off the handle at her, and moments later he’s asking for forgiveness. Drugs and erratic behavior begin to be a part of their relationship as they marry and have a child. In one scene, an angry Elvis flings a chair in her direction and almost hits her, though the abuse is more psychological than physical, and Priscilla has to work to find any sense of freedom.

While complementary in their individual points of view, “Priscilla” and “Elvis” couldn't be more opposite. “Elvis” is zippy and energetic while “Priscilla” is methodical, bordering on sedate. However, the biggest sin with “Priscilla” is Coppola never really digs into her wants and desires apart from Elvis. While they’re shown getting to know each other early on and there are moments of passion and fury later between the couple, their emotional bond is left unexplored to the point where you really wonder why Priscilla sticks around through her love’s Bad Boyfriend 101 antics.

How did Elvis and Priscilla meet?What to know about the duo ahead of 'Priscilla'

Elordi has his moments as Elvis – one fun scene, in particular, has him snapping photos with excited nuns after Priscilla’s graduation – but his performance is surprisingly charmless, almost by design. “Priscilla” overall has a rather anti-Elvis vibe: Instead of the King’s tunes, the soundtrack is sprinkled with songs like a Ramones cover of The Ronettes’ “Baby, I Love You” and Dolly Parton’s “I Will Always Love You.” (“Don’t Be Cruel” and “Heartbreak Hotel” honestly would have been too on the nose, anyway.)

Like most Coppola efforts, it's a good-looking film yet the storytelling in “Priscilla” frustrates instead of illuminates, letting down its namesake with a superficial approach to an iconic life.