But Ridley Scott’s new movie takes its time before delving into the insidious, gilded world of the Italian luxury label.
But even though Rodolfo’s apartment is impressive, with high-end art adorning the walls, Scott films it like a tomb, a cavernous hideaway for a man who barely remembers how to enjoy his success.
House of Gucci, which is in theaters tomorrow, is a fable about Patrizia’s rise and fall from the 1970s through the ’90s, as she marries Maurizio, remains by his side when he assumes control of the company, and eventually plots his murder after their acrimonious divorce.
Many of his later efforts center on the dark side of money: Think of the cruel tycoon in All the Money in the World, or the inhumane businessmen driving the chaos of his later Alien films. Gucci is his second release in 2021, after the excellent The Last Duel, another story about how those with influence wield it to achieve their own selfish ends.
House of Gucci is not quite as bleak as I am making it sound, partly because its performances are so loud that the film should probably be screened only at stadiums. Lady Gaga plays Patrizia as a wide-eyed sweetheart who transforms into someone resembling a Transylvanian countess, affecting an accent that sounds absurd until you hear the real Patrizia’s voice.
But much of the philosophical push and pull in House of Gucci is over what sort of future the brand should pursue—either staying in the burnished hands of the elder family statesmen or trying to compete on a global scale.
He shoots the entire movie with the same dark blue palette he gave The Last Duel and All the Money in the World, casting a foreboding shadow over the lifestyles of the rich and famous.