House of Gucci (B+ or 3/4 stars)
'House of Gucci' (directed by Ridley Scott, Alien, Gladiator, this yr.'s The Last Duel, among many) tells the true tale of Gucci's prolific rise & precipitous fall in the fashion industry and, it's also a fascinating study of luxury, lust, power, greed & betrayal. A real-life murder looms large over this story. It is alluded to in the 1st scene. But the film truly begins back in 1978 with the world-renowned fashion house being run by the founder's sons, Aldo (Al Pacino) & Milan-based Rodolfo (Jeremy Irons). It is a crucial time for the Gucci Empire. Aldo's only son, Paolo (Jared Leto, unrecognizable in make-up), is more interested in being a fashion designer than running the business. And Aldo, who thinks his son is an imbecile, has no intention of letting Paolo take charge. Conversely, Rodolfo's son, Maurizio (Adam Driver), is focused on becoming a lawyer and, wants nothing to do with business.
That is, until he meets - and marries against his father's wishes - the smitten & uber-ambitious Patrizia Reggiani (Lady Gaga). Together with Aldo, she convinces Maurizio to join the company and, after his father's death, the newlyweds conspire to have Aldo sent to jail for fraud; to take over Gucci for themselves. No longer the shy man he was when he met Patrizia, Maurizio's persona changes. He becomes more assured, more stylish ... and he falls out of love with domineering Patrizia. Instead, he rekindles a relationship with old flame, Paola Franchi (Camille Cottin). Intractable as ever, Patrizia will NOT be denied. And in 1995, urged on by her TV psychic-turned-confidante, Pina (Salma Hayek), Patrizia concocts a deadly scheme of revenge.
'House of Gucci' has it all when it comes to family intrigue & ice cold betrayal. I like this film, quite a bit; despite niggling issues I have with its tone & a 157 min. run time which suggests that a mini-series may have been the best way to tell this sprawling story. But the film is stylish {think Dynasty by way of 1980s Italy}. And given the BIGNESS of the Gucci clan, it is easy to be entertained by the personalities in the story. The best component of this movie is the electrifying performance from Lady Gaga. Simply put, you cannot take your eyes off of her. Every scene in this film crackles whenever she's on screen and, she looks great in all those Gucci designs. Going from a wide-eyed ingenue with her heart set on the Gucci heir, to the cunning business-savvy woman who enjoys the spoils, to the discarded wife ... Gaga nails it. Watching her impassioned seering & seething is quite the thing.
Gaga also exhibits explosive yin-&-yang chemistry with Adam Driver's Maurizio. While Gaga & the other Gucci portrayals go 'big', Driver goes the minimalist route, where every facial twitch, half smile or glance means something major. And his transition from an over-protected son to remorseless power-monger is quite believable. I was also riveted by Al Pacino. His Aldo is one sly businessman and, though Pacino lends his brand of Pacino-isms to the role, so too does he bring quiet self-reflection & demoralizing devastation to the role. Though Jared Leto plays the doltish, larger-than-life Paolo with a bit too much 'much-ness', his head-to-toe makeover is striking, and he brings a forlorn, defeated energy to the role late in the proceedings. And I liked Jack Huston as Domenico de Sole, the family lawyer who smoothly adjusts allegiances as the Gucci power struggle flips & flops through the years.
The performances are the highlight of this movie, but it's not all about the acting. Ridley Scott brings his mark of elegance & sophistication to the production; employing his usual team to provide opulent locales, stellar cinematography, sleek set designs & glamorous costumes. Everything looks as one would expect when particularizing the lifestyles of this prominent fashion house. Having said all of that, Scott's chic touch doesn't always mesh with the more uncouth, unrefined qualities of the story. It's almost too polished, when really, elements of this story could've verged more on a camp execution. Some performances & scenes are a bit too campy, & at other times, more camp would've helped. The film is unwieldy & somewhat pallid whenever Patrizia isn't around. But if you're intrigued by the ugly machinations of the rich & famous, watching the Gucci empire crumble is something to behold.
That is, until he meets - and marries against his father's wishes - the smitten & uber-ambitious Patrizia Reggiani (Lady Gaga). Together with Aldo, she convinces Maurizio to join the company and, after his father's death, the newlyweds conspire to have Aldo sent to jail for fraud; to take over Gucci for themselves. No longer the shy man he was when he met Patrizia, Maurizio's persona changes. He becomes more assured, more stylish ... and he falls out of love with domineering Patrizia. Instead, he rekindles a relationship with old flame, Paola Franchi (Camille Cottin). Intractable as ever, Patrizia will NOT be denied. And in 1995, urged on by her TV psychic-turned-confidante, Pina (Salma Hayek), Patrizia concocts a deadly scheme of revenge.
'House of Gucci' has it all when it comes to family intrigue & ice cold betrayal. I like this film, quite a bit; despite niggling issues I have with its tone & a 157 min. run time which suggests that a mini-series may have been the best way to tell this sprawling story. But the film is stylish {think Dynasty by way of 1980s Italy}. And given the BIGNESS of the Gucci clan, it is easy to be entertained by the personalities in the story. The best component of this movie is the electrifying performance from Lady Gaga. Simply put, you cannot take your eyes off of her. Every scene in this film crackles whenever she's on screen and, she looks great in all those Gucci designs. Going from a wide-eyed ingenue with her heart set on the Gucci heir, to the cunning business-savvy woman who enjoys the spoils, to the discarded wife ... Gaga nails it. Watching her impassioned seering & seething is quite the thing.
Gaga also exhibits explosive yin-&-yang chemistry with Adam Driver's Maurizio. While Gaga & the other Gucci portrayals go 'big', Driver goes the minimalist route, where every facial twitch, half smile or glance means something major. And his transition from an over-protected son to remorseless power-monger is quite believable. I was also riveted by Al Pacino. His Aldo is one sly businessman and, though Pacino lends his brand of Pacino-isms to the role, so too does he bring quiet self-reflection & demoralizing devastation to the role. Though Jared Leto plays the doltish, larger-than-life Paolo with a bit too much 'much-ness', his head-to-toe makeover is striking, and he brings a forlorn, defeated energy to the role late in the proceedings. And I liked Jack Huston as Domenico de Sole, the family lawyer who smoothly adjusts allegiances as the Gucci power struggle flips & flops through the years.
The performances are the highlight of this movie, but it's not all about the acting. Ridley Scott brings his mark of elegance & sophistication to the production; employing his usual team to provide opulent locales, stellar cinematography, sleek set designs & glamorous costumes. Everything looks as one would expect when particularizing the lifestyles of this prominent fashion house. Having said all of that, Scott's chic touch doesn't always mesh with the more uncouth, unrefined qualities of the story. It's almost too polished, when really, elements of this story could've verged more on a camp execution. Some performances & scenes are a bit too campy, & at other times, more camp would've helped. The film is unwieldy & somewhat pallid whenever Patrizia isn't around. But if you're intrigued by the ugly machinations of the rich & famous, watching the Gucci empire crumble is something to behold.