Ridley Scott has had quite a year. The acclaimed director has had two of the most talked-about releases among cinephiles, The Last Duel and House of Gucci. One being a callback to some of the best films of his career, while the other being House of Gucci. From the early onset of the film’s announcement, I’ve felt there were two schools of thought regarding the film’s prospects. It was either going to be a home run or an unmitigated disaster. It’s safe to say that I missed one potential opportunity – a combination of both. House of Gucci is a film that is camp galore and ripe with performances that chew every scene like a delicious filet mignon.
Based on the 2001 Sara Gay Forden book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed, House of Gucci dives into the rise and fall of the Gucci family. It follows Patrizia (Lady Gaga) as she begins her courtship of Maurizio Gucci (Adam Driver), the heir to the Gucci throne. After meeting at a party, the two develop a relationship that ultimately leads to marriage despite the disapproval of Maurizio’s father, Rodolfo (Jeremy Irons). Although his father disowns him, Maurizio eventually embraces Aldo (Al Pacino), Rodolfo’s brother, thus beginning a Gucci brand war.
Roberto Bentivegna and Becky Johnston’s screenplay is a mess. The tonal issues in Gucci are on full display as the film starts in an impressive entertaining fashion and eventually turns into a slug of a film. Rather than wholly embracing the campiness of its first 100 minutes, the final act leans into the heavy-handed dramatic tropes that, in turn, hurt the effectiveness of the foundation laid out in the beginning of the film.
The screenplay also fails to answer questions about Patrizia’s motives fully. Yes, she’s enticed by money, power, and respect; however, the film never dives into other aspects of her life that motivate her. Though questions arise about her marriage and true feelings, Patrizia only arrives at a surface level. The film fails to explain why she makes it her purpose in life to drive a wedge between members of the Gucci family.
The best aspects of House of Gucci are the performances. In the spirit of Walt Disney World attractions, there’s an array of performances for everyone. If you’re looking for a compelling dramatic take, Adam Driver is your man. Driver feels like he’s in a completely different film. He’s essentially the straight man of the film and is quite good.
If you’re looking for camp, the rest of the performances will provide you with quite the array of cheesiness. Lady Gaga, while effective in her performance, is incredibly over the top. There are moments within the film where Gaga takes it to an 11 while Driver holds it down at 5. However, the chemistry between the two is evident even if their unique performances do not tonally match.
Then we get to Al Pacino and Jared Leto. First, there’s hamming it up; then there is Pacino and Leto’s performances. Easily the most enjoyable performances in the film and not for the reasons many would expect. Pacino and Leto are unapologetically hilarious. Choices are made, and while those looking for a full-on dramatic narrative frown upon these takes, I ate them all up and could not stop chuckling during most of their scenes. Chef’s kiss!
The music drops and costumes in House of Gucci are also a highlight. The signature clothes of the Gucci brand hit the screen at full throttle and were gorgeous to admire. At the same time, a commendable score by Harry Gregson-Williams’s is aided with quite an array of hits from the ’70s and ’80s. It’s impossible not to sing along with these tunes as they hit the big screen.
House of Gucci is quite the cinematic animal. It’s not the Oscar bait-y drama I anticipated, but it’s certainly a film I immensely enjoyed. From its initial viewing, it enters the pantheon of a cult classic and will be at the forefront of conversation upon its release.
