The rise and fall of Maison Gucci | Movie
There comes a point during factual drama from producer / director Ridley Scott Gucci House in which one has the unmistakable feeling that the story is slowly but inexorably slipping away. All the elements of a juicy, flashy melodrama, set against a high fashion backdrop, are apparently there, along with a star-studded cast, but it’s a big disappointment and a missed opportunity.
That the film sparked some controversy regarding its dramatic license is hardly surprising, and Scott is no stranger to such controversy. His 1492: Conquest of Paradise (1992), which dramatizes the discovery of America by Christopher Columbus, starred GÃ©rard Depardieu (mostly French) as the Spanish sailor, but no one seemed to really care because few people saw him, although it was infinitely better than the other big-screen Columbus saga that year, the ridiculously ridiculous production of Alexander Salkind Christopher Columbus: the discovery.
by Scott american gangster (2006) faked some facts but was, on the whole, a gripping crime drama. All the money in the world (2017), which detailed the kidnapping of John Paul Getty III, sparked more controversy due to Scott’s decision to eliminate Kevin Spacey (who played J. Paul Getty) and replace him with Christopher Plummer after the allegations against Spacey for sexual impropriety erupted, followed by the disclosure of the pay gap between team leaders Michelle Williams and Mark Wahlberg. Nevertheless, All the money in the world was a quality effort – and even earned Plummer an Oscar nomination.
Adapted from Sara Gay Forden’s non-fictional bestseller The Gucci house by Becky Johnston and Roberto Bentivegna, this feature film is an obvious attempt to replicate the vibe of Coppola Godfather trilogy – especially with regard to the family angle – while incorporating elements of Shakespeare Macbeth.
Here we have Adam Driver as Maurizio Gucci, who is disowned by his father Rodolfo (Jeremy Irons) when he decides to marry Patrizia (Lady Gaga), whom Rodolfo considers to be of a lower class. It is Rodolfo’s brother, Aldo (who other than Al Pacino?) Who organizes a reconciliation that will have unimaginable consequences for everyone involved, including himself.
Patrizia de Gaga is the Lady Macbeth of the last days who compels Maurizio to take a more active role in the Gucci empire in a Machiavellian style, using and betraying other members of the family at will. Instead of three witches, Patrizia is constantly influenced by Pina Auriemma (Salma Hayek), a TV smoky clairvoyant (!) Who becomes her confidante and accomplice.
This seems like must-see material, and for a while Gucci House combines satire and soap opera in a flamboyant and ornate style. Then, alas, it becomes repetitive and rudimentary. Even when Maurizio seeks to distance himself from Patrizia’s influence – which ultimately seals his fate – it lacks dramatic impact. By the end of the film, Patrizia is so little onscreen that her character almost evaporates.
Nonetheless, Gaga (nÃ©e Stefani Germanotta) proves her Oscar nominated turn in A star is born (2018) was no accident, and here she does not have the benefit of her initial vocation – singing – to fall back on. Driver minimizes Maurizio to such an extent that he’s seemingly eclipsed and overwhelmed by those around him, but it’s an effective portrayal of a man who realizes that fortune and status don’t guarantee happiness or happiness. satisfaction, not even survival.
Hayek, who not too long ago could have played the part of Patrizia very well, has little to do except whisper bad advice and smoke cigarettes. It’s always nice to have Irons around, even though he looks suspiciously like Boris Karloff in his later scenes. The cunning Pacino growls as Aldo while occasionally showing off that characteristic poise. Jack Huston occupies the Robert Duvall “Tom Hagen” Godfather role of Maurizio consigliere.
The real stage thief, however, is Jared Leto as Aldo’s son and Maurizio’s cousin, Paolo. Playing a bald, sweaty, middle-aged chess, struggling to secure even a small chunk of family prestige, the actor is completely unrecognizable and completely sympathetic as the lovable loser. This is arguably the best performance of the film.
Gucci House is suitably lyrical and Dariusz Wolski’s cinematography suitably elegant, but the film is strangely empty and devoid of any real emotion. They are not endearing characters. More damaging is that they are not particularly interesting either. The film is watchable and gripping at times, but style isn’t synonymous with substance, and substance is a quality sorely lacking here.
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