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House of Gucci

Ridley Scott enlists an A-List cast for his bombastic dramatization of Maurizio Gucci’s assassination.

TThe devil works hard, but Ridley Scott works harder. This year has brought two lavish, large-scale productions from one of the most prolific directors of his generation. While his grueling medieval drama The Last Duel has been generally well received by critics, its box office failure has left many industry experts wondering why a star-studded film by a famous director failed to make it. sell tickets.

Where the premise of this film – a young woman fights for justice after accusing her husband’s friend of rape in 14th-century France – might have been a tough sell, the last of her efforts in 2021 seems like a lot more palatable, appealing to both Lady Gaga’s legion of devoted fans and the true crime-obsessed hordes who devour the likes of American Crime Story and Making a Murderer.

Indeed, House of Gucci’s story of love, betrayal and family feuds in the upper echelons of the fashion world could hardly be more marketable – not least as it marks Gaga’s return to the big screen after her very popular filming in Bradley Cooper’s A Star is Born.

Not that the role of Patrizia Reggiani seems exaggerated to him. There have been a lot of interviews on her intense methodology for the role, but Gaga seems simply born to play Reggiani, a street Italian woman who meets Maurizio Gucci (Adam Driver) at a party in 1970 and aims to marry in a fashion dynasty. She possesses the charisma of Sharon Stone in Casino or Michelle Pfeiffer in Scarface, instantly believable as a woman who knows what she wants and has no qualms about getting it.

“I don’t see myself as a particularly ethical person, but I’m fair,” she drawled in one scene – a nasty caricature in the vein of Cruella de Vil – but it works somehow. ‘another in the weird world of the movie, where every character is a little silly but taken quite seriously by the cast and script. This works in favor of the film; it’s not exactly likable, but Scott made a solid attempt to get under the skin of his slippery characters. The only weak point in Gaga’s performance is her accent, although she is not the film’s worst offender; Jeremy Irons, as Maurizio’s father Rodolfo, slides into his familiar British accent every two sentences, while Jared Leto, as aspiring jester creator Paolo, appears to have based his dialect on cartoon plumber Mario. .

Lasting nearly three hours, the sprawling story encapsulates not only the turbulent union between Patrizia and Maurizio, but also the internal battles at the heart of Gucci throughout the ’70s and’ 80s, as warring factions in the within the family ultimately caused their own demise. It’s a Shakespearean tragedy of deception and betrayal between men, with Patrizia subtly pulling the strings. But screenwriters Becky Johnston and Roberto Bentivegna avoid attributing too much blame to the only woman in the room; it’s clear that the ego conflict at the heart of Gucci was simply exacerbated by Patrizia’s presence rather than caused by her.

House Of Gucci - Light Home News

For all the narrative ground it covers, House of Gucci is rarely boring. Gaga and Driver go out of their way to sell their roles, even if their chemistry is a bit one-sided (this could be a character choice on Driver’s part, as Maurizio was in every way the most withdrawn member of the family). The most entertaining relationship in the film is that between Patrizia and her medium / co-conspirator Giuseppina Auriemma (Selma Hayek), who advises – and later hitman – Signora Gucci. Hayek is still in the game, but it’s especially gratifying to see her play a scam with a heart of gold.

If there is one weak point in the cast, it is Leto, who is not able to take on a supporting role without making the whole world aware of it. It pretty much works, given he plays the Gucci family’s Fredo Corleone, but his presence is often distracting. When he has to star alongside Al Pacino (playing his father and Gucci Patriarch Aldo), you immediately understand what a real movie star looks like. Pacino hammers it here too, but it’s still possible to take it seriously. There is no risk with Leto.

In films like American Gangster and All the Money in the World, Scott has long been interested in the juxtaposition between glamor and crime. House of Gucci is another prime example – and perhaps the closest the director has ever satirized. His approach to Gucci is reminiscent of the Bluths of Arrested Development, a family prone to hysteria and lacking in self-awareness.

The costume design is lavish – the film makes full use of Gucci’s archives to dig into the sartorial side of things – but what’s even more interesting is how quickly these wealthy people tire of their beautiful things. Acquiring them is the important part; after that, a sort of apathy sets in, with breathtaking panoramas nothing more than backdrops for petty arguments or lovers’ tiffs.

To that end, House of Gucci is perhaps a stronger clue to the super-rich than it intends to be; they look just as miserable as the rest of us, just in more fancy clothes. A late scene uses Giacomo Puccini’s “Drone Chorus” of “Madame Butterfly” for a truly moving effect, though most of the film plays on the bombastic and over-the-top reputation that Gucci has been courting for years. Scott clearly understands the real people at the heart of this story and how they tear each other apart.

A tighter cut could have intensified the drama even more, and the accent work is shaky to say the least, but House of Gucci is a pleasant (and often interesting) entry into the world of Ridley Scott’s historical drama. With production on his Napoleon biopic set to begin soon, the veteran filmmaker continues to show a fascination with the glamor of the past. Even when you get close enough to notice that the seams aren’t quite straight from a distance, it’s pretty fun.

Reference of the Article-post – lwlies