“Gucci House”. Lady Gaga is much better at acting than a script writer

“Dom Gucci” is a film shameless in its splendor and at the same time surprisingly intimate. Ridley Scott has focused so much on the characters in the drama that you can forget about the rest of the world. The screen is full of passion and energy of Lady Gaga, who really turned into her character. Remember that Jared Leto is also playing there, because you surely won’t recognize him. He went so far that he completely disappeared in the creation of a funny and dangerous idiot. I would also like to appeal to give an Oscar or a Golden Globe to the hair of Adam Driver – they live their own majestic life there. First things first.

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House of Gucci – Lady Gaga and Adam Driver in the first trailer

“Gucci House” or Macbeth in Italian

Patrizia Reggiani was married to Maurizia Gucci for 12 years. The world recognized her as the Black Widow when it turned out during the high-profile trials that it was she who ordered the murder of her ex-husband, who left her for his lover and cut her off from what she loved most – the Gucci fashion house. It is around this woman, played by Lady Gaga with extraordinary passion, that the main axis of the narrative of Ridley Scott’s new film is focused. The director could start with the process, revealing the next stages of the dramatic story to the viewers, but he clearly did not want to make a sensational film. Instead, at first, he showed how a girl from the Italian suburbs who worked for her father’s transport company became the wife of the heir to Gucci’s fortune. Then Scott calmly guides us through the important stages of their life together.

There will be a lot of threads, so let’s sort it out: a great romance, as well as Patrizia’s career, begins with a chance meeting at a party. Once the girl knows who she is dealing with, she misses the parole on the law-studying and introverted Maurizia (Adam Driver) so that the boy falls in love with her. Unfortunately for her, however, as perhaps the only member of the family, he is not interested in running the family business.

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So when his father Rodolfo (played by Jeremy Irons to perfection) forbids him from marrying Patrizia, because in his opinion the girl only hunts for their fortune, she renounces her luxurious life without much regret and goes to her beloved’s house to propose. His future father-in-law employs him in his transport company, and Maurizio is delighted to live a simple life. However, he will not be able to find peace after the wedding, because his uncle Aldo (Al Pacino) asks for him and wants him to return to the bosom of the family. Especially that an intelligent and talented lawyer is a much better candidate to take over the family empire than his own, not very bright son Paolo (unrecognizable Jared Leto), who has the wrong belief that he is a great designer.

Patrizia persuades her husband to reconcile with her father and uncle, to take a position in a fashion house and take care of business. She herself suggests various solutions and exerts a lot of pressure, because she has the ambition to run the company. And when she feels lost or lonely, she calls Pina’s TV fairy (Salma Hayek), who becomes her faithful confidante; a woman feels that it is possible to earn a lot from such a client. Here everyone has a plan and their own goals to achieve, so it gets dense at some point. The complexity of all these connections and the calm with which subsequent threads are introduced give me the impression that instead of a movie, the story should be made of this story – along with this cast – rather a ten-hour series.

Lady Gaga’s party

Leading the story in this way, Ridley Scott created a classic drama full of tragic irony, an almost Shakespearean tale about how people in power should not lock themselves in their marble offices, cut off from the world. It is also a warning to be careful about who we trust and who we allow ourselves to be influenced by. Because suddenly it turns out that a simple girl from the suburbs is so intriguing that almost everyone dances as she wants. Until then, of course, because Patrizia loses control and enters the stage of desperation, which Lady Gaga showed excellently. When the on-screen husband calls her as Elizabeth Taylor, I see Elizabeth Taylor there. After changing her hairstyle and styling, the eyes appear slightly demonic, but sincere in her feelings, Italian Liza Minelli.

Lady Gaga as Patrizia Reggiani in the movie 'Gucci House'Lady Gaga as Patrizia Reggiani in the movie ‘Gucci House’ Photo Metro Goldwyn Mayer Pictures Inc / Forum Film Poland

Lady Gaga even went so far as to use the Stanisławski method to extract the traumatic experiences of her youth, when she was repeatedly raped by a music producer. The pain you see on the screen comes from real experiences. It is worth seeing the whole thing only for her own sake. The fact that the actor is behind the character can also be forgotten in the case of Jared Leto, who has changed to the role of the goofy Paolo Gucci so completely that he is completely unrecognizable. This may be a problem for his admirers.

Jared Leto on the set of House of GucciJared Leto on the set of House of Gucci Gazeta Agency

And here you can see the biggest difference between the actors and the part of the cast that deals with music: they drowned in their characters and disappeared. On the other hand, both Adam Driver, Jeremy Irons and Al Pacino do something different – they create their heroes with precision and dedication, but also leave a margin for themselves. They all have something in common – they speak with a fake Italian accent, which in many cases has its charm, but can also be painfully embarrassing at times.

People suspended in a vacuum

On the one hand, I know that the nearly three-hour-long film was intended to show the entire tragic events that led to the murder of Maurizio, and Scott wanted each of the characters to have time to shine on the screen. However, knowing only partially the book on the basis of which the script was based, I can also see how many simplifications had to be made to this story and how many interesting flavors were lost, because there was no time for them. It is frustrating because the attention to detail was high here.

The costumes themselves show that we go through three epochs: we start with the aesthetically most interesting 70s, we break through the still painful for the eyes 80s, which in the pursuit of luxury are downright kitschy, only to end up in the 90s, which they differ significantly from previous eras with their aesthetics. And yet the transitions between these periods are lost somewhere, the narrative lacks a bit of a broader context – how can a viewer not moving in the world of fashion know that the Gucci house from a once luxury brand has turned into a synonym of kitsch and trash for nouveau riche?

You might be as surprised as the movie Maurizio Gucci, who by chance at a Versace show found out that no one who respects himself wants to design for his brand. The screenwriter focused so much on the relationships between family members that he forgot to set them in specific realities and show that their actions are not only driven by internal imperatives, but also caused by external factors. This is probably the biggest problem of this film, which delighted me on many levels anyway. I am sure of one thing – after the screening I can’t wait to read Sara Gay Forden’s book to the end.

About Alex Marcell

He likes dogs, pizza and popcorn. Already a fanboy of Nintendo and Sony, but today throws anything. He has collaborated on sites and magazines such as GameBlast, Nintendo World, Hero and Portal Pop, but today is dedicated exclusively to Spark Chronicles.

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