House of Gucci
I’ve been a big fan of cinematographer Darius Wolzski since “The Crow.” Other films like “Dark City” and the “Pirates of the Caribbean” trilogy were other great examples of his use of color and darkness to tell fantastical stories. Over the past decade, he’s been working with Ridley Scott on the reg, and it’s been a fruitful one. Last year, he received his first Oscar nomination for his work on Paul Greengrass’s “News of the World.” Maybe he should have sat out “House of Gucci,” because the muted color palette he and Scott have developed over the years does not work for this film.
“House of Gucci” seems to want to be a camp melodrama about family power plays, but the way Scott and Wolzski have shot the film, and how bloated the film’s 157 minute running time is, it doesn’t quite nail what the rest of the film wants to be. There’s still quite a bit that’s fun; it’s almost in spite of what Scott is doing, however.
Lady Gaga continues to choose her roles wisely after her turn in “A Star is Born.” As Patrizia Reggiani, the woman who helped tear down the Gucci family, Gaga needs to be theatrical and big and broad, and she is. The accent is absurd, but honestly, all of them are in this film. She is the center of the film, or at least, the individual the story hinges on at every turn. The daughter of a trucking company owner, Reggiani happened to run into Maurizio Gucci (Adam Driver) one day at a club, and she’s putting herself into his life, and not long afterwards, they are married. From there, life in the Gucci fashion empire goes sideways. What follows is a combination of domestic drama, rags-to-riches parable, and crime thriller. And Gaga is game for everything the film puts in front of her.
They say not to do business with your friends. Wouldn’t that be doubly important when it comes to family? I feel like part of the screenplay by Becky Johnston and Roberto Bentivegna is inspired by “The Godfather” trilogy. Family politics, fathers disapproving of their sons, and back-stabbing is all on display and Maurizio gets back into the family business after meeting Patrizia. His father, Rodolfo (Jeremy Irons), sees her as someone who will ruin him from minute one, but he’s also got harsh words for Paolo (Jared Leto), his nephew, and the son of his brother Aldo (Al Pacino), when Paolo has fashion designs for the family business. Irons is withering in a brief role, even through an accent that is comical. Pacino’s is probably the strongest and most natural, while Driver’s makes him feel like a Mario brother (though Driver sells the Hell out of the character). Leto’s performance is one a lot of people will take away from this film, and it’s a lot to process. As much as Gaga’s performance, Leto’s takes a leap into absurdity that one never really expects. It’s like an over-the-top opera performance, and it’s unforgettable.
“House of Gucci” has all the pieces in place to be delightful melodrama, including Salma Hayak as a TV psychic whom becomes a crucial part of Patrizia’s orbit. But the film’s visual look makes the film’s 2 1/2 hours feel like a slog to go through, even when something entertainingly over-the-top is going on. That works for something like “The Last Duel,” which benefits in terms of what its subject and timeframe is. This should be as joyous as a Fellini film. Instead, it just seems self-important.
