Review | Lady Gaga steals the spotlight in the exaggerated Italian soap opera ‘Casa Gucci’

After having revolutionized the music scene, Lady Gaga he decided to bet his chips on another sphere of entertainment and migrated to acting. Winning a Golden Globe for her praised performance in ‘American Horror Story: Hotel’ and an Oscar nomination for his impeccable work on the musical novel ‘A Star is Born’, Gaga proved to be one of the most versatile artists in history, leaving her mark wherever she went. Three years later of the acclaimed feature film directed by Bradley Cooper, the actress and singer is ready to embody her next persona: Patrizia Reggiani.

The dense name is unfamiliar for any reason, as Reggiani became one of the key players in the murder of Maurizio Gucci, heir to the iconic House Italian that bears his name. Patrizia and Maurizio were married in the 1970s and were plunged into a whirlwind of feelings and betrayals that culminated in one of the most shocking tragedies in the history of fashion. After having turned a book in the care of Sarah Gay Forden, the narrative was taken to the big screen through the eyes of the legendary director Ridley Scott, responsible for masterpieces such as ‘Gladiator’ e ‘Alien – The 8th Passenger’, and won the title of ‘Gucci house’ – promising to unravel all the drama and all glamour involving the main family. However, despite high expectations, the iteration ran into technical and creative excesses, overshadowed only by the incredible performance of a top cast.

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For those not very familiar with the plot, Patrizia (Gaga) and Maurizio (Adam Driver again in spectacular surrender) ventured into a romantic bond when they were still younger – much to the despair of some and the happiness of others. Their relationship had a controversial reception by the Guccis, especially by Rodolfo (Jeremy Irons), father of Maurizio, who said he was a royal fashion Italian could not mix with a family that had a carrier for business and support. Even with so much adversity, both decided to get married and distance themselves from those who could do them harm – that is, until constant twists take them back to the Gucci and start a stellar fall and a tangled cycle of lies that could only walk towards one place.

It’s no surprise that Gaga portrayed Patrizia to perfection, which is why she has been acclaimed since the film’s first screenings. THE performer transmutes into socialite with enviable solidity, adopting each of its mannerisms and characteristics to devise a very delineated arc that starts with romantic idealization, crosses cruel realism and isolates itself in a quiet madness that is unable to accept that things have not gone its way . By contrast, Driver is not content with the banal heroism that accompanies victims of vengeful plots, providing a brash side to Maurizio’s personality that is often overlooked – which is why their chemistry (or the purposeful lack of it) emanates from the screen with fervent anguish .

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But the pair aren’t the only ones to delight us; Gaga and Driver are joined by a cutting-edge cast that includes an unrecognizable one Jared Leto like the funny Paolo, whose overpowering matches the character in an explosion of events that reflect the mercenary rot that lurks behind dazzling dresses and coveted accessories; Irons gives himself body and soul for the brief screen moments as Rodolfo, while Salma Hayek rescues the glory days of Pina Auriemma, Patrizia’s confidant and friend, in a chameleon-like interpretation. On top of this talent “pie”, we have Al Pacino like the ruthless and charming Aldo, who takes over Gucci’s actions after the death of his brother, Rodolfo, and becomes the target of Patrizia’s immoderate ambition (who doesn’t think twice about outsmarting her and conquering yet another enemy to the your list).

While there aren’t enough qualifications to describe the potency of the leading and supporting cast, the same cannot be said about the work’s conduct. Given that we’re dealing with a crime drama, audacity doesn’t seem very much in keeping with what the film is trying to deliver – but that’s not to say Scott didn’t need to have given himself so much to formulas. After all, the filmmaker deals with three main problems here: the first lies in the long scene time, which exceeds two and a half hours and which could have lost some unnecessary sequences to make it more fluid; the second is the aesthetic treatment, especially the montage, whose construction is fragmented and too abrupt not to cause any discomfort in the spectators; and, finally, there are obstacles in which the script of Becky Johnston e Roberto Bentivegna stumbles, implying a momentary loss of rhythm.

Anyway, good intentions spread throughout this epic soap opera – and it even recovers the elegance of a classic Hollywood, which is why the result is positive and should please both Gaga fans and those who expect a melodramatic foray with all the exaggerated elements that we know. With an atmosphere that alludes to the mafia features and that guides us on an appetizing journey, ‘Gucci house’ It may not be the best release of the year, but it is, without a doubt, a burlesque and witty epic that deserves to be checked out in its own overdose artistic.

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