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Review: An epic but shallow production, House of Gucci easily captures times and family dysfunction

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It is either a police drama, a comedic commentary on the dirty rich, or an anarchic overthrow of the ruling classes by the working class. Or a bloated combination of the three. However, you ingest director Ridley Scott’s second film of the year (after The last duel), Gucci House, there will likely be some actors you love and others you hate, along with an overwhelming feeling that the movie will never end.

Gucci House

Image courtesy of Metro Goldwyn Mayer Pictures Inc

Based on the book by Sara Gay Forden (and adapted by Becky Johnston and Roberto Bentivegna), Gucci House is actually the story of Patrizia Reggiani (Lady Gaga), who comes from humble beginnings working for her father’s trucking company and met Maurizio Gucci (Adam Driver) while he was studying to become a lawyer and did had no real interest in fashion, let alone the dynasty that bears his last name. To him, she was exciting and outgoing, while he was shy and overconfident. When he finally brings Patrizia home to meet his father Rodolfo (Jeremy Irons), who owns 50 percent of Gucci, his negative response to him is inevitable, but it fuels something in Maurizio that not only makes him a better. lawyer, but also his resolve to learn and participate in the rock solid business.

After getting married (his side of the aisle is practically empty), the couple bond with Maurizio’s uncle Aldo (Al Pacino), who owns the remaining 50% of the business and begins to see Maurizio. like the son he never had. Which is funny because he actually has a silly son in Paolo (an unrecognizable Jared Leto), who thinks he’s a designer even though his works are universally considered garbage. It is no coincidence that Aldo’s interest in Maurizio infuriates Rodolfo, which Aldo likes very much. Around this time, Patrizia begins to voice her opinions on how Gucci should be run and what her and her husband’s role should be in the business, which only makes Aldo laugh and explain to him that Gucci is no It’s not a women’s game and that her thoughts on the business are not needed or appreciated. This ignites a fire under her to not only take control of the business, but also eliminate her husband’s family members in the process. She’s a patient woman, and when Rodolfo dies, leaving her husband to control his 50 percent stake in the company, Patrizia begins to find his way.

Gucci House captures the late 1970s and beyond so convincingly it’s easy to get lost in the immersive layers of clothing, music, production design, and hairstyles. An interesting, if slightly indulgent, element of the film is Patrizia’s relationship with her medium, Pina Auriemma (Salma Hayek), with whom she became friends and ended up getting involved in more illicit criminal activity. Another major player in the Gucci Empire is the only non-family member, Domenico De Sole (Jack Huston), a leading financial adviser who puts Maurizio with investors from the Middle East at a crucial time in the recovery of the industry. company, but which has its own program, not surprisingly.

It wasn’t until the end of the film that the inner workings of Gucci began to take center stage, especially when Maurizio brought in an unknown American designer from Texas named Tom Ford (Reeve Carney) to put together a new collection, taking the fashion world by storm. At this point Maurizio and Patrizia are practically at war and he begins to see another woman, Paola Franchi (Camille Cottin, who recently caused a sensation in Still water), setting the stage for Patrizia to break down for good and prepare a most loathsome murder.

My point of view Gucci HouseThe players of is like this: Gaga is damn remarkable, from her fiery Italian accent to her ability to go from flirtatious to raging monster in the blink of an eye. Leto is a scream, even if it’s not his intention, but I’m pretty sure it is. He knows these people are ridiculous, and he turns himself into the crown prince of this circus of idiots. Driver is a bit of a miss here, but he’s also the character he plays; I think he does the job he was hired to do, but it doesn’t sound like someone I care about when he’s on screen – my eyes were always drifting to something flashier in the room. Pacino does too much as only Pacino can, and strangely enough, his Italian accent rings the most wrong. I’m not quite sure Ridley Scott intended to do a big comedy, but that’s what his finished movie is. It’s also quite too long, at almost 160 minutes, especially when there are such obvious tracts of land that could have easily been excised and would have greatly improved the movie.

Still, I found myself caught in the betrayal, indulgence, back stabbing, and awkward criminal activity on display, and these are actors I rarely tire of watching. If your curiosity takes over and you find yourself sneaking into your local theater to check out Gucci House, you’ll probably have fun even if you struggle to find any greater meaning in it all. Something this epic should mean something below the surface, right? Maybe you’ll spot that meaning like I did, or maybe that portrayal of excess, a lust for power, and a story of jealousy will be enough for you. Whatever your tastes, you’ll probably find something here for you, although not entirely to your satisfaction.

Gucci House is now in theaters.

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Categories: Film, Critic, Screens

Tagged as: adam driver, Al Pacino, Becky Johnston, Camille Cottin, Jack Huston, Jared Leto, Jeremy Irons, Lady Gaga, Reeve Carney, Ridley Scott, Roberto Bentivegna, Salma Hayek, Sara Gay Forden