Lady Gaga and Jared Leto excel at the top in an epic fashion story that is constantly being talked about with vibrancy of its own.
Patrizia Reggiani – or at least Mad Magazine’s caricature of her Lady Gaga Carved from the tabloids with Michelangelo-like art and precision – is one of modern cinema’s most money-hungry monsters. And while the actress portrays her vividly in “Gucci house“It can be emphasized that Reggiani married the reluctant heir to Milan’s greatest fashion empire out of love and not out of greed in which she later grew up. necessary for Gaga’s deep commitment to the bit).
The Patrizia at the center of this bubbly tragic allegory are Jordan Belfort, Daniel Plainview, and No-Face from “Spirited Away” all dressed up as Elizabeth Taylor and rolled into a checkered $5,000 suit that looks like leather smell. You can almost see the cash register go “ka-ching!” in her eyeball when Maurizio Gucci (Adam Driver) introduced himself to her at a party one fateful night in the 1970s, when that famous name hit Patrizia like a cartoon cheeseburger and caused a chemical reaction that would eventually destroy destroy both.
It’s a moment of pure exaggeration with the reserve look on the face of a tough-looking director who has bent any genre to his will over the years, and it sets the stage for a film. Serious business satire of a crime epic. Is there any other way? Some viewers may be disappointed to find that Scott’s film isn’t quite the gratuitous adventure its trailers promised; that it’s less interesting than engaging, despite the arena-sized growth of Lady Gaga’s lead performance and Jared Leto’s very welcome decision to play Maurizio’s failed cousin like a skirmish between Fredo Corleone and Waluigi (no surname).
But this is hardly the case when a movie can’t decide on its tone. In contrast, “House of Gucci” is seen as a movie About bloody feud over its tone. Trapped in a lively conversation with its own vibrancy from the very beginning, “House of Gucci” capitalizes on that latent conflict into a working portrait of the tension between riches and riches. and value.
Like so many of them, “House of Gucci” is determined to take its ambitions seriously. Confirming that she’s one of the most self-hypnotized actors on the planet, Lady Gaga plays Patrizia Reggiani which is already ludicrous as a caricature. The result is a singular double of a performance that gradually anthropomorphizes a social-escalating schoolgirl as she tumbles to hell; The movie around her can stretch down to its morbid finale, but Gaga seems to have gained even more control over herself as Patrizia turns around murderously.
It helps her live Patrizia as an outsider many times: First as a Reggiani in the Gucci family, then as a woman in the fashion world. Of course, her new relatives never let her forget either truth. Maurizio’s widowed father Rodolfo (scarred Jeremy Irons in total Miss Havisham mode) is quick to despise his son’s new lover, deliberately ignoring the fact that his late wife is the daughter of a chemical factory workers, or just a generation. passed since the so-called Gucci empire rose from the head of a hotel worker. The sick man likes to live in the past – not the past, but the past that lives in his imagination.
For him, Gucci is something that should only be worn by people like Grace Kelly. It’s something that mortals can only wear in their dreams (Rodolfo’s motto: “No shopping malls”). For the rest of the family, Gucci is a fortune, and the globalism promises to make it even bigger. Rodolfo might argue that “quality is remembered long after price is forgotten,” but his unscrupulous brother Aldo insists that wealth is the only quality that matters (he Played by Al Pacino, who plays a key role in a film where XXL is like a media.) Who’s right? Who cares. All that matters at the end of the first level is who has control of Rodolfo’s assets.
As for the sassy and avid Maurizio, he had no interest in any of it. Driver plays him as a prince whose life is so enchanting that he can’t afford to distance himself from it – he can hide behind an oversized pair of glasses like Clark Kent and pretend to be as mortal as he is. we. Imagine if Michael Corleone had married Lady Macbeth instead of Kay Adams and you would understand the trajectory of his relationship with Patrizia (a relationship that ended with a very funny sex scene, a a little hot, and rest assured of the command Scott has over this frayed material). Driver is of course overshadowed by the film’s more colorful characters, but one of the strengths of Roberto Bnkinggna and Becky Johnston’s colorful pragmatic script is that it allows Maurizio’s slow hardening from him. Baby soft into scorpion takes place in clear vision. He is the most literal victim of this story, and a lot of his wounds are ultimately self-inflicted.
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If everyone in “House of Gucci” is playing a different instrument, Scott makes sure they’re all playing the same song. There’s even a strangely beautiful dissonance between Driver’s voice and whatever the hell Jared Leto is doing as Connor Roy of the Gucci family. Displayed unrecognizably under ~934 lbs of unadulterated latex, Leto live poor old Paolo like a black sheep in Technicolor, his sad clown performance worthy of even three Michelin Stars. when it’s as true to Italian culture as a can of Chef Boyardee. On the other hand, he’s the only Gucci alive who has a vision of how the brand can continue to innovate in the 21st century. On the other hand, he’s also a goofy guy who sings every verse as if it were one. aria version, and he could be a little loves pigeons too much, so no one takes him seriously (the Frick-and-Frack move between Paolo and Aldo is beloved to the end).
Patrizia is trying to convince everyone that she is a Gucci person, the Guccis are trying to convince themselves that they are royalty, and Paolo – the group’s pioneer Pagliacci – may be the only one of them. they don’t have a lot of knockoffs when fake handbags are sold on the streets of Manhattan. Those imitations prove to be a key plot point here, interrupting Scott’s occasionally dazed narrative with obvious needle drops and brutally dramatic beats to get something sharp. a little sharper.
For Patrizia, who cares less about being rich than about the sense of self-worth that wealth is supposed to give you, nothing is more infuriating than having you touch the invisible ceiling of class. She may become Gucci, but she never becomes Gucci, and so her insatiable thirst for control of the family business stems from the need to own what is essential. The best drug she can’t afford. Honestly, she’s nothing more than a blue-collar housewife who buys a fake Gucci bag to feel its residual luxury, and the idea that someone can buy it on the sidewalk for $20. instead of spending a lifetime fighting for it. The Gucci family name itself is enough to make her a superhero (notably, if not explicitly, the scene where Patrizia discovers this is one of two scenes of Lady Gaga wearing something from the archives. Gucci reality). It’s finally time to take out the trash.
She fights for the soul of the Gucci family to the point of strangling its life, while all the other Guccis are so eager to sell that soul that they have absolutely no idea how much it’s worth. That dynamic sets up a pretty lousy show at the monster factory (to go back to the saying “Success”), and keeps this movie moving towards the end, awkwardly handled even as the Scott’s bluntness in directing begins to tire viewers. The central gambit of “House of Gucci” required the film to be set at a lower wavelength than its performance, but that’s a big ask for a 160-minute story about late-century developments. 20 from family businesses to worldwide brands and a little style goes a long way. And when the name Gucci became meaningless to the Gucci family, it finally became a reality.
It may not resonate with the biblical weight of “There Will Be Blood” or burn with the hedonistic swagger of “The Wolf of Wall Street,” but Scott’s film offers an allegory. astute talk about how things tend to become more complete as they grow more lucrative. As art sells its soul to commerce. Maurizio is a Gucci, and Patrizia makes him merely rich. It’s hard to imagine a more fitting place to see it than at a massive complex rife with hot franchises over Thanksgiving weekend.
Rank: B +
United Artists Releasing will release “House of Gucci” in theaters on Wednesday, November 24.
https://www.indiewire.com/2021/11/house-of-gucci-review-lady-gaga-1234680909/ House of Gucci review: Lady Gaga kills in Ridley Scott’s mute satire