'No one in 'House of Gucci' can ultimately contend with the force of nature that is Lady Gaga,' writes film critic JustinCChang
which tracks Princess Diana’s desperate flight from the House of Windsor. And now along comes “House of Gucci,” Ridley Scott’s canny and engrossing movie about an Italian luxury brand and a family brought low by greed, fraud and vicious infighting, plus a notorious black widow played by a coldly electrifying Lady Gaga.
One crucial difference is that while the heroine of “The Last Duel” is sold into a bad marriage, Patrizia wills herself into one. She’s at a party in Milan in 1970, giving off Elizabeth Taylor vibes in a head-turning red dress, when she first meets the diffident, bespectacled Maurizio, who’s so awkward — but charmingly so — that it takes her a beat to realize he’s the heir to the famous Gucci fashion house.
I mean that mostly as praise; it’s also a sure sign that Scott and his collaborators — including screenwriters Becky Johnston and Roberto Bentivegna, here adapting’s 2000 book — have fully comprehended their subject. The line between art and trash is always a porous one, in high-end goods as well as cinema. And not unlike some of the totems of luxury on display here, “House of Gucci” is a calculated, highly controlled amalgam of the stylish and the tacky.
“House of Gucci” will surely do its part to burnish the brand, even as it gleefully airs two decades’ worth of dirty laundry. But Scott, now 83 and an ever more clear-eyed, dispassionate observer of how power and industry operate behind closed doors, doesn’t go out of his way to fetishize the inventory.
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