Gaga rules in Ridley Scott’s at times ridiculous drama based on the true-life sagas of the Italian fashion dynasty
“The most Gucci of them all” is how Patrizia Reggiani described herself in a 2014 interview and, judging by this entertainingly ripe, comedically tinged tragedy, she has a point. Variously known as “Lady Gucci” and “Black Widow”, Reggiani became the centre of a very 1990s scandal involving lust, money, fashion, murder… and a clairvoyant. To that tabloid-friendly cocktail, Ridley Scott’s latest “true story” potboiler adds a dash of pop superstardom, with Lady Gaga (Oscar- nominated for her close-to-home performance in A Star Is Born) relishing the chance to find the human cracks beneath a larger-than-life, femme fatale surface.
Adapted by screenwriters Becky Johnston and Roberto Bentivegna from the nonfiction book by Sara Gay Forden, House of Gucci charts a crowd-pleasing course from the Milanese party scene of the 1970s to a high-profile, end-of-the-century trial. At its heart is the doomed romance between Patrizia and Maurizio Gucci, the latter played behind stylishly studious glasses by cinema’s sexy nerd de nos jours, Adam Driver. “I want to see how this story goes,” says Patrizia, embarking upon a twisted fairytale romance with the grandson of Guccio Gucci that starts with masked balls and talk of midnight chimes and pumpkins and ends with family back-stabbings, jealous rages and deadly rivalries.
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