When Patrizia Reggiani, an outsider from humble beginnings, marries into the Gucci family, her unbridled ambition begins to unravel their legacy and triggers a reckless spiral of betrayal, decadence, revenge, and ultimately…murder.
“House of Gucci” is directed by Ridley Scott and based on the book of the same name by Sara Gay Forden. The British director, best known for “Blade Runner” and “Gladiator,” filmed the story of the final emotional destruction of the Gucci family empire. Locations included the Italian Alps, Milan, Lake Como, Florence, and Rome.
Lady Gaga, late to the film acting scene, nevertheless scored big in her first venture, “A Star Is Born,” with Bradley Cooper, where her musical talent was featured. In “House of Gucci,” she portrays the sexy, conniving Patrizia Reggiani, who vaulted herself into the House of Gucci by seducing and marrying Maurizio Gucci, played by Adam Driver. Upon meeting Patrizia, Maurizio was not interested in pursuing a career in his family’s fashion business, however, Patricia encourages and steers him back down the family rabbit hole with devastating results. Lady Gaga’s best achievement in this film was her resemblance to the “Black Widow” (a name the Italian press dubbed Reggiani). She, however, must have believed it was her Italian accent, judging from recent interviews.
Driver, too, is a look-alike to Maurizio and makes smooth the transition from the laid back, easy smile of the man smitten with the sexy, contriving Reggiani, down the rabbit hole to the cold holder of the cards of Gucci. All in all, though, he’s a bit of a cipher, easily overlooked.
Physical similarities certainly played their part in the casting of the well-known, well-publicized Gucci family. Jeremy Irons as Rodolfo, Maurizio’s father, bears a resemblance to the depressive, ineffectual man, enhanced through make-up, and filled in by his usual acting acuity.
Pacino, on the other hand, requires no extensive makeover recreating Rodolfo’s brother, Aldo Gucci. This enormously talented, extensively experienced actor, brilliantly portrays Aldo through his characterization of the outgoing, demonstrative, family linchpin, attempting the “herd the cats” of the large, chaotic Gucci clan. But, wait, that sounds like a description of Pacino. Well, good casting for an actor when you can play yourself. Aldo created the iconic double-G logo honoring his father, Guccio Gucci, and through his friendship with President John F. Kennedy, made the necessary breakthrough into the US fashion market to lead to the opening of worldwide markets for the firm. The source of the absolute proliferation of knockoff Gucci products in the US and elsewhere in the ‘80s was at least hinted to in the film. Look up Alessandro Michele for the full story.
The make-up and character show-stopper in the film absolutely, hands-down, is Jared Leto (isn’t it often?). Leto appears as Paulo, the rather simple, tolerated son of Aldo Gucci. This is an amazing characterization as Leto is younger, better built, and certainly has more hair than the character he stepped into. Of course, the film world can make aliens of mortals, but Leto’s character is melded into that look. He takes the “look” and saunters slowly with it. His face is a palate of nuanced looks. An actor’s most difficult challenge may often be the portrayal of a simple man. Leto’s Paulo is not a man of limited emotions, though he may not be the brightest star in the Gucci sky. Instead, under the physical transformation of Leto, he became a star stealing attention in a film full of stars. I relished his moments onscreen. I loved that in the lobby before viewing the film, my partner (who has appeared in film and theatre), swore the figure on the promotional poster was absolutely not Jared Leto. In a way, as I discovered in the theater watching the film, my partner was right, in a way. The man on the screen wasn’t Leto. It was Paolo.
Watching the intricate characters of this film unfold on the screen was seductive. I didn’t see the Academy Award-winning performances that talking heads had predicted, though there probably will be. I nominate Leto, of course. The film is long, in terms of holding interest, and would have benefitted from more careful editing. The middle section doesn’t hold up the absorption and immersion of the beginning and end. It is, however, a fascinating and terrible thing to watch the disintegration of a family, much akin to the inability to look away from a horrible accident.
In Theaters Wednesday, November 24th
