The Gucci house represents a decent addition to that second category of Ridley Scott’s filmography made up of films that can be appreciated at the time of their release and then completely forgotten.
They are productions that have an impeccable technical invoice but the stories they provide do not generate the necessary appeal to review them in subsequent viewings. Other examples from the past were A Good Year, Web of Lies, The Crime Lawyer, and most recently All the Money in the World.
In this case, the proposal develops the chronicle of the events that led to the murder of businessman Maurizio Gucci in 1995 and the main hook of the show is enjoying Lady Gaga in the role of Patrizia Reggiani.
A kind of real-life Lady MacBeth who was an important catalyst in the fall of the dynasty of Italian businessmen, whose internal conflicts seem to come out of a soap opera from the ’80s.
The true facts that are narrated in the film have all the ingredients of a television soap opera, where there is no lack of betrayal between family members, greed and power games.
Despite a complicated accent, which at the moment refers to a Russian spy, Gaga offers a very good dramatic interpretation that also has a successful physical characterization of the character.
His work complements very well with the works of Adam Driver, Jeremy Irons and Salma Hayek, who come out very well in this production. For a change, Jared Leto falls back into one of his “Lettings” in order to provide the best performance of 2021. This time the genius of art takes the Fredo Corleone of this story, Paolo Gucci, and turns him into a kind by Marios Bros grotesque that represents the stereotypical gaze that North Americans have of Italians. The exaggerated accent and the way in which the character develops not only go against the rest of the cast but also contrasts with the general tone of the film.
In that sense, La casa Gucci offers two films in one. Gaga and Driver’s drama is combined with Jared’s Saturday Night Live skit that features some hilarious scenes, especially those he shares with Al Pacino.
A few days ago the daughter of Paolo Gucci expressed in the press her outrage at the antics that the actor does in this film and the truth is that nothing can be objected to him because the character ends up being a crude caricature. The great paradox of this issue, it is also fair to mention, is that without Leto’s additional spectacle, this production would have been an absolute tedium.
Especially in the third act when the plot moves Gaga to a secondary plane to focus on the commercial interns of the Gucci company. Although this proposal does not represent the highlights of Ridley Scott, who already completed this year with a great production, for those who are not familiar with this media case the theme of the story could be a little more interesting.