Ridley Scott’s House of Gucci details the fashion empire’s exploits over a decades-long period. The majority of the action is driven by Patrizia Reggiani (Lady Gaga), who marries into the family when she is betrothed to aspiring lawyer Maurizio Gucci (Adam Driver).
Many have claimed Gaga as Reggiani, Driver as Maurizio Gucci, Jared Leto as Paolo Gucci, and Al Pacino as Aldo Gucci are…not on the same page throughout the film’s bloated runtime (it clocks in at over two and a half hours). There is merit to this, as it seems the four are acting in totally different films.
Leto’s performance as the black sheep Paolo is especially noteworthy. You’re not sure if he was actually given any direction at all, as his performance is over the top to the point of unbridled lunacy. Pacino is in his element as the conniving Aldo, who takes Patrizia and Maurizio under his wing. Jeremy Irons also chews up the screen as Rodolfo Gucci, Maurizio’s father, who disowns and then reconciles with his son before his death. The film’s pacing is erratic, and switches from light romantic comedy to family drama to murder conspiracy to…whatever the hell Leto is doing at a breakneck pace.
Scott is also at fault for some creative decisions. George Michael’s “Faith” playing during Maurizio and Patrizia’s wedding is particularly insulting. Pacino, who is acting on a different level than the rest of the ensemble, is underutilized. Lady Gaga clearly spent more time on her wardrobe than with her dialect coach, as she sports a multitude of different accents throughout the film. House of Gucci has a lot going for it, yet it suffers from trying to tell too many stories at once. The film, like Gucci’s product line, maybe nice to look at. But it is a convoluted, confusing mess. This title would only be suitable for college film studies classes studying Ridley Scott's career or university clubs interested in fashion.