House Of Gucci Review

On the surface Gucci house sounds perfect. Ridley Scott’s film features a real-life crime, outrageous fashion undertone, and Succession-Family style drama. It stars Lady Gaga and Adam Driver as Patrizia Reggiani and Maurizio Gucci, the couple who drew the Gucci surname into infamy when Reggiani orchestrated her husband’s murder in 1995.

The images that came out of the set of the actors dressed in snow white and cream clothes of the 90s suggested promising transformations and a possible camping party; Gaga’s interviews about her acting method (she even adopted a cat perspective to help her transform from Italian-American to Italian) put Marlon Brando’s famous acting method to shame.

But sadly, not much of the work is evident in the resulting film, which is unambitious and underwhelming. There are glimpses of what could have been three separate stories in the nearly 3-hour movie. But the messy script doesn’t even get into good or bad territory; it’s loaded with dad jokes, bad plot, and weak characterization, especially of the woman supposedly at the center of the action.

the Gucci house Writer Becky Johnston’s screenplay is based on journalist Sara Gay Forden’s book of the same name, which is essentially a fashion business reporter’s account of the family brand’s history. But the film is too indebted to the drab source material and never finds an angle to lean on with confidence. Instead, it tries to follow multiple threads, including the family’s backstory, the couple’s story, and the crime, none of which merge into a coherent plot.

Scott envisioned the film as an epic tale of the modern Medici, but at least as presented here, the backstory of the fashion house Gucci isn’t all that interesting. When Donatella Versace took over after Brother Gianni’s murder, that It was a moment at stake, a family dynasty that suddenly changed artistic direction and faltered in the era of corporate acquisitions. This, on the other hand, is like a business story with no real drama.

They treat us with stereotypical dynamics between two brothers, Aldo Gucci (Al Pacino) and a former dandy actor, Rodolfo (Jeremy Irons), and their respective sons Paolo (Jared Leto) and Maurizio (Driver). Rodolfo is only in the movie to hint at his displeasure that Maurizio, a shy lawyer and bookworm, falls in love with Patrizia, the daughter of the owner of a trucking company.

The scenes of their courtship, when Maurizio falls in love with Reggiani, are sweet and give an idea of ​​the family dynamic he was marrying. Gaga chews her minor scenes with vulnerability and intensity. The problem is that his role seems, at best, secondary to the action, especially for a movie called “His rise became his fall.”

The machinations about the brand, as the founder chooses his nephew over his son, and there is tax fraud, are not exciting to watch. Jared Leto is clearly having fun as Paolo with his caricature of a pompous and indolent heir. (Although, given his accent, I almost expected him to suddenly erupt into a “pizza pie-ah” exclamation.) Driver is the best actor, but Maurizio is boring, and one yearns for some paternal problems or pettiness like the men of the family. fight for control of the brand. (The fight sounds too dramatic for what basically amounts to a collage of signature scenes on paper.)

Patrizia comes down to rage at how knockoffs sold on the street were affecting the brand, in a kind of clumsy attempt to hint at her feminine street cunning. Apparently the real Reggiani was prone to comments like “I’d rather cry in a Rolls-Royce than be happy on a bike” and “My husband was like a pillow: he bore the imprint of the last one who sat on it. “None of that dry wit is in evidence here.

Although the boys make castration jokes about Patrizia (she has “my little peaches in a very strong grip,” says Paolo; “she has handles bigger than you,” says her father), in fact, there is no real sense of it. what Patrizia wants. . She turns to a television psychic (played with kitschy taste by Salma Hayek) as her confidant who uses bromides to explain Patrizia’s motivations: “You want everything.” But we don’t really see ambition in Gaga’s Reggiani, crushed by Hollywood’s condescending factory of sympathetic women. She is primarily seen through her relationship with her husband and is shown as a desperate wife in love with her husband and just trying to empower him within the family.

When Maurizio leaves Reggiani for another woman, there is a scene where she deals with her lawyer who gestures toward her feelings about having been stripped of her dignity. But there’s no real sense of how that abruptly culminates in murderous rage and a deceptive assassination plot.

Gaga says she ignored the journalism about Reggiani to create her own portrait, and it shows, but not in a good way. His role in the script is held hostage not so much by the true story, but by two impulses that seem endemic in contemporary storytelling: on the one hand, stories with an obsession with shiny objects at “crazy” moments, for example, an arrest while the Paolo’s opera star wife sings in the background, or the spectacle of a television psychic involved in an assassination plot. These are diligently reproduced as if the incongruous details themselves make a good story.

The second problem is the fear of turning women into blatant antiheroes. There may be a real strategy behind that fear. Jennifer Lopez’s Ramona On Scammers She reached the soul of a true crime boss with much more skill, performing a calm callousness that allowed her to put her own interests before those of others, but not without a certain warmth.

But critic Mark Harris astutely pointed out that that was precisely why Lopez was excluded from the Academy Award race. As a star and actor, López “did everything wrong,” he argued. “He dared to play a character who used his sexuality as a tool for professional survival and he did not regret it; she committed the unforgivable sin of being compassionate and then no; he took his public image and dramatically amplified and modified it to suit a complicated character. “

Gaga has done the opposite in her own acting career. She has taken her complicated public persona and simplified it to portray identifiable women who can be sold in large, widely distributed films. She played a sweet pop star girlfriend trying to save her man on his first outing, and now a devoted wife who wasn’t really immoral, but maybe she just loved her husband too much. Unsurprisingly, it’s already paying off with the Oscar rumors.

“I don’t believe in glorifying murder,” Gaga says in a snippet from an interview that has gone viral on TikTok. “I believe in the empowerment of women.” That is fine as a statement of your own customs. But the point is, Reggiani had a more complicated code: she believed in murder as her form of individual empowerment. If only Gaga – and Gucci house – had known what to do with it. ●

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