Movie Review: The Entertaining And Kinky House of Gucci Shows The Comedy And Drama Behind The Depravity Of Greed


Gucci House is the second 2021 film from the acclaimed filmmaker Ridley scott. The first was the medieval drama The last duel, which was about a true story involving a woman who fought for her voice to be heard after being sexually abused in a tyrannical and patriarchal society. The second concerns a true story about a woman who plotted a murder against her spouse after being motivated by greed motivated by patriarchal affairs as well as by her own desires. Scott has never been a stranger to telling stories about women; especially with movies like Thelma and Louise and GI Jane.

On his narrative approach to Gucci House, he gave up the serious and dramatic path of The last duel as well as a strict biographical approach. Instead, he took a soapy, wacky road – interspersed with moments of integrity for good measure. Scott built his film as a $ 100 million episode of Dynasty. He approaches his characters as overrated caricatures that are driven by greed like they have dollar signs on their eyes and he extracts humor from them for all they are worth.

Scott wisely knows that the overwhelming pantomime of the story or the cast will wear audiences down. It therefore presents the order of male actors, from the lowest level of scenery to the level of ham in the galaxy; make climbing immersive and welcoming. As the film reaches the second act, we are introduced to Adam Pilot at Jeremy Irons at Al Pacino and Jared leto; escalating roles of pantomime levels that ridicule all moral depravity for all its value.

It tells the story of the first act like a fairy tale, where Patrizia would meet her handsome prince and they would live happily ever after. Then the prolonged end of this fairy tale occurs. The drama of the story is always striking, and not just because of its factual origins. Scott gives the film enough integrity, as well as the work of the cast of Lady Gaga and Driver, to make their struggles have an impact.

The work of screenwriters Becky johnson and Roberto Bentivegna don’t even care about the historical facts as they prefer to focus on the scenarios they could concoct from the premise of the true story and what one thinks when the Gucci name is mentioned. Their storyline features hilarious nuggets that no human would ever say; including a monologue on duplicity inviting comparisons between the taste of chocolate and feces.

Choices in the soundtrack – including Faith through George michael during a wedding streak – are blatantly funny that Scott feels like he was laughing at the difficult situations the characters would face. Even a sex scene between Gaga and Driver is refreshing, without any romantic veneer, as they inhabit their own world together.

Speaking of colliding worlds, most of the cast in the set act in their own world – Driver infuses his role with quiet dignity as Irons, Pacino, Hayek and most of all Leto devour the sets with their chewy sets. However, it makes thematic sense, as the wealthy the actors portray in the film still think the world revolves around them; making their eye sockets feel appropriate in tone.

But what brings them quite close to Scott’s direction is Gaga’s stellar performance. She’s the solid bridge that brings together the disparate tones of sincerity and camp that make the film run on her shoulders. Just like his work in A star is born, Gaga is able to do away with her superstar character and inhabit the role of Patrizia with effortless ease. Its accent is emblematic of this bridge, as its intonations vary from an authentic Italian to an imitation of Natasha Fatale from The Rocky and Bullwinkle Show. However, her chemistry with Driver is believable, her character arc is compelling, and her work is overrated yet heavy and energetic – you just can’t look away from her.

This latter claim can be said for Leto’s work but for hilariously opposite reasons. Her work involving dollops of makeup, a sing-songy [sic] “Italian” accent, gestural [sic] the movements widen the two tones so far, it almost threatens to derail the picture. Fortunately, he provides more than enough humor – a scene involving a sling and bashing will have you laughing in shock – that his work adds fun to the proceedings; especially when he’s on screen with Pacino, who has a bit of that hoo-ah [sic] energy still in him.

Gucci House will undoubtedly disappoint history purists and those who expect a purely accurate description of said actual events. But Scott’s disdain for the people in the story he portrays has provided his most purely enjoyable job since 2015. The Martian.

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FOUR STARS (OUT OF FIVE)

Gucci House is currently showing in theaters.


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