Gucci is a label built on a carefully concocted air of tasteful luxury, but HouseOfGucci is a movie that mostly understands itself to be high-end trash. Read alisonwillmore's review of Ridley Scott’s hammy, but undeniably fun, saga
Photo: Fabio Lovino Some movies leave you wanting to talk about the quality of the acting, but with House of Gucci, it feels more appropriate to discuss the amount. Even spread over an exorbitant two hours and 37 minutes, Ridley Scott’s second film in two months has more acting by volume than any other theatrical release this year.
Gucci is a label built on a carefully concocted air of tasteful luxury, but House of Gucci is a movie that mostly understands itself to be high-end trash. No one onscreen has a better grasp of this than Lady Gaga, who plays Patrizia Reggiani, the hot-blooded upstart who marries into the family and starts Lady Macbeth-ing it up, only to end up arranging a hit on her ex-husband, Maurizio , after their divorce expels her from under the aegis of the green and red.
It’s not always about her, unfortunately. The screenplay for House of Gucci, which was written by Becky Johnston and Roberto Bentivegna, based on a book by Sara Gay Forden, has the shapeless sprawl of something with many juicy details but no center. It begins as Patrizia’s tale, with her delightful seduction-as-bulldozing of Maurizio.
What it’s really about, of course, is rich people being awful to one another, a genre of entertainment that speaks to our era more than superheroes do. We may want to eat the rich, but we also like to watch them, and our appetite for dramas set in the world of the one percent hasn’t decreased, even as the use of guillotine GIFs rises.
Maybe that’s why Gaga’s character fades from view for a while, as though the movie loses its resolve, unable to bridge the endearing outsider and the murderess. But she represents the most interesting, if half-explored, idea that House of Gucci has to offer, because once she’s allowed into the hallowed halls of the Gucci clan, she buys into the myths of exclusivity and aristocracy more than Maurizio — who scoffs about his grandfather being a bellhop — ever did.
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