Respond to these rapid questions in our House Of Gucci quiz and we will tell you which House Of Gucci character you are. Play it now.
It would look something like Ridley Scott’s “House of Gucci” if “The Godfather” and “Succession” had an ostentatious lovechild. The master’s sweeping yet wildly imbalanced rendering of the titular and celebrated fashion empire’s scandalous history, which is full of backstabbing, betrayal, greed, and even murder, is a must-see for any fan of Ridley Scott’s work.
The film, which is based on the novel by Sara Gay Forden, has a spicy enough foundation that is laced with just the right amount of flamboyance, one that sees Lady Gaga transform into an ambitiously tacky character, one that features an unrecognizable Jared Leto dialing up yet another transformative shtick to eleven, and one that contains plenty of exaggerated English-spoken-with-an-Italian-accents that stretch and twist random words through cutely When presented with a campy package that sounds completely entertaining on a fashion-soaked, star-studded, feast-for-the-eyes canvas, you might reasonably wonder: “What’s the problem?” It may be helpful to quote a character who refers to the propped-up and preppy Ralph Lauren as “a movie set,” the vibrant showiness of Versace as “a rock concert,” and the refined legacy of Gucci as “the Vatican of fashion,” to illustrate his point. Consider the juxtaposition of all of these disparate looks on a haphazard runway that is supposed to represent the voice of a single designer. The film “House of Gucci” is an example of a jumbled collection that would have benefited from a more cohesive silhouette and a shortening of its tedious running time.
Yet Scott’s soapy epic—his second film this year after the superior (and also partly campy) “The Last Duel”—isn’t exactly a bore, thanks to a number of its actors (such as Leto) who aren’t afraid to embrace the film’s kitschy tone, as well as some fearless moments—such as one sensationally go-for-broke sex scene—that meet them at that elevated level.
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Lady Gaga leads the way in an uneven performance as Patrizia Reggiani, an assertive young woman from modest means who falls in love with and eventually marries Maurizio Gucci (an eerily subdued Adam Driver), the dreamboat scion of the Gucci fashion house, played by a fierce Lady Gaga. As soon as Patrizia is rejected by shy Maurizio’s traditional and haughty father Rodolfo (Jeremy Irons), who silently shames Patrizia for her lack of cultural finesse, she finds an unexpected ally in Uncle Aldo (Antonio Banderas) (Al Pacino). As Rodolfo’s calculating brother, he takes a different approach than his brother when it comes to reviving Gucci’s floundering image in the 1970s and rising above rumored financial difficulties at the time.
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Also included is Aldo’s son Paolo, who is played by Jared Leto and whose outrageous (and extremely entertaining) gaudiness is responsible for the aforesaid “rock concert” comparison. For Paolo, who is an incompetent businessman-want tobe and an aspiring fashion designer with little taste and even less talent, Leto’s approach to the role immediately resonates with the character. Throughout the three-decade-long story, there is a lot of animosity and bad blood between the members of the family, especially after Patrizia successfully talks Maurizio out of his law school dreams, forces her way into the family business, and turns her husband against almost everyone in the family. As Patrizia becomes increasingly distraught, Pina, played by Salma Hayek, provides her with prophecies about the future, resulting in some of the film’s most hysterically funny sequences.
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If only the cast could decide what kind of movie they wanted to be in before they started filming. It’s possible to say that Adam Driver is excellent in the role of Maurizio, but his measured mannerisms feel so out of sync with the version of “House of Gucci” that Leto or Hayek seem to be in that he operates in an entirely different movie, one that Lady Gaga occasionally joins in when she isn’t on a different wavelength from Driver. Throughout the script by Becky Johnston and Roberto Bentivegna, which alternates between a stern drama and a goofily elevated melodrama, with a perverse sense of humor that scores various laughs, many of which are unintentional, you can sense this tonal inconsistency as well. When “House of Gucci” has the audacity to embrace the latter half of its split personality, the film succeeds, if not soars, as a result. Unfortunately, that confidence does not always come to fruition in the real world. After losing its momentum in the final act, the film follows the ill-fated and at one point vulnerable Maurizio as he willingly steps to the dark side of his powers, a la Michael Corleone but with slicker fashion sense, and helps to restore Gucci to its former prominence as a multibillion-dollar premier designer. (In these segments, Reeve Carney does a good job of portraying a young Tom Ford.)
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Surprisingly, the visual design of the “House of Gucci” is what leaves the most lasting impression. With a story that takes place in Rome, Milan, New York, and even the Alps (where Maurizio and Patrizia go on vacation), and an incredible Camille Cottin who appears as Maurizio’s romantic interest-to-be, the film highlights the luxury and lavishness of the Gucci lifestyle with grace and the utmost attention to detail thanks to Arthur Max’s intricate production design. The film is directed by Luca Guadagnino and stars (According to reports, the majority of the film was shot in and around Rome, as well as the historic Cinnecitta for the interiors.) Janty Yates, the film’s costume designer, is unquestionably the project’s standout performer, particularly in the way she sculpts Lady Gaga’s Gina Lollobrigida-esque looks and character journey—from her early flouncy unworldliness to her sharply cut outfits and later on, vulgar getups—and informs the actor’s performance, which veers into something animalistic. The designer’s impeccable suiting (made mostly bespoke by a New York-based tailor, with a few pieces by Ermenegildo Zegna thrown in for good measure) brings out the neatly combed Driver’s masculine elegance in a way that no other film has managed to do before or since.
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Nevertheless, these visuals are only temporary special effects, elements that help “House of Gucci” stay afloat when the film gets stuck on an overly long train ride somewhere else. Despite the fact that you came in expecting a sophisticated boutique experience, the experience you receive upon leaving is more akin to an overstuffed department store.
Starting on November 24th, the film will only be available in theaters.
For more personality quizzes check this: Sing 2 Quiz Quiz.
