Pam says:
“House of Gucci” tries too hard to be too much in too little time. With distracting accents, no real focal point, too many tones, and actors appearing to have little direction, the film slogs along to its bitter end.
To read Pam’s entire review, go to RHR
Chucks says:
Growing up, two of the hottest shows on TV were “Dallas” and “Dynasty,” prime time soups populated by the rich and decadent who indulged in the excess of their lifestyles in ways viewers could only dream of. And what with the malicious backstabbing, sordid affairs and outlandish plot-twists that occurred in them weekly, these shows pushed the limits of narrative credibility to the breaking point… so we thought.
Based on the book by Sara Gay Forden, Ridley Scott’s “House of Gucci” makes the exploits of the Ewings and Carringtons seem like minor indiscretions. At the hands of a master manipulator, fathers and sons are pitted against one another, various skeletons are ripped from closets and one of the most prestigious international fashion houses is nearly destroyed when accusations of fraud and tax evasion are brought to light.
The time is 1978, the place is Milan and Maurizio Gucci (Adam Driver) is the target of gold-digger Patrizia Reggiani (Lady Gaga). A random encounter at an Italian discotheque has brought them together and once she hears the young man’s magical last name, she sets out to get him with the tenacity of a starving dog trying to invade a henhouse. She’s as subtle as a sledgehammer to the face, but Maurizio’s naivete makes him easy prey, despite the protestations of his father Rodolfo (Jeremy Irons). Though he’d rather pursue a career in the law, Patrizia, along with his uncle Aldo (Al Pacino) convinces him to take a more active part in the family business.
This proves to be a fatal mistake, as once Patrizia is allowed into the corporate side of Gucci, she behaves as if she created the business on her own, insisting that key company players be replaced, imitators be squashed and the line be modernized. The power plays she orchestrates pit family members against one another, leaving reputations in tatters, resulting in once high-powered movers and shakers rotting in jail and even murdered.
Knowing such outsized characters require performers as grand in their approach to bring them to life, Scott has wisely populated his cast with a roster of scene-chewers that’s obviously relishing their roles. Ironically, Irons and Pacino show a modicum of restraint in their respective performances, each of them almost subtle in comparison to Jared Leto as Paolo, Aldo’s arrogant son, who’s intent on remaking the company. Leto is nearly unrecognizable under layers of latex and a bald cap but the glint in the actor’s eye is unmistakable. He’s well-aware he’s stealing every scene he’s in with his grand gestures, near falsetto voice and wide-eyed expressions of surprise and delight and the movie is better for it.
Yet in the end, this is Lady Gaga’s show and she runs with it. Never once does her pop music persona cross your mind as she completely transforms herself into this two-faced conniver. She’s a live wire, her coiled energy imbuing her mesmerizing accent and expressive eyes with a sense of barely contained mania that’s captivating. You can’t help but admire her full-bore approach as she delivers one of the most entertaining performances of the year.
Scott’s films have always had a highly polished feel and look about them, which lends a degree of respectability to this sordid tale. To be sure, “House of Gucci” is a fascinating, entertaining work but it may have benefited from wallowing a bit in the sordid machinations and scandals that drive the story. Yes, it’s handsome and sharp, but a garish accent or two would have made it all a bit more fun.
3 Stars
