House of Gucci tells the true story of the iconic Italian fashion family. The film follows the rise and fall of Guccis (and soon-to-be-Guccis) from 1978 to the 1990s. You can track the era by the hairstyles and cars, as well as Christmas gifts (such as Simon and Teddy Ruxpin). Along the way there’s plenty of melodrama.
Full disclosure: I am no one’s idea of a fashion follower, and I know even less about high-end fashion such as Gucci. Though the film is based on a book of the same title, and by extension a true story, I had no idea what to expect. I vaguely remembered that there was some assassination, or attempted murder involved in the story, but I wasn’t sure who the victim was, so I went into House of Gucci with a clean slate.
Lady Gaga plays Patrizia Reggiani, a middle-class, possible gold digger who marries into the Gucci family via nerdy lawyer Maurizio (Adam Driver), much to the evident dismay of his father Rudolfo. The dramatic dichotomy is set early on: the indecisive, studious Maurizio and the impulsive, passionate, manipulative go-getter Patrizia. The meet cute between them is too long and too cloying by half (I suspect to pad out Lady Gaga’s screen time). Gaga’s giggly character, though annoying and one-note at first, eventually wins over both Maurizio and the audience.
The film is filled with excellent performances, perhaps most prominent among them Lady Gaga. She effectively conveys a range of emotions, ranging from vulnerability to guile. Driver is good as her husband, though often so passive it’s not clear he has much to do in the role. Jeremy Irons has a small but savory part as Rodolfo, brother of Aldo Gucci (Al Pacino). Pacino can do this role in his sleep but, to his credit, decided to show up and not phone it in. Maurizio’s cousin Paolo, played with commitment by Jared Leto, is a talentless oaf with delusions of grandeur largely inspired by his own last name. Yes, Leto’s performance is over the top, but it fits the film. The film is slightly unhinged, but then again the family is unhinged, and the story is unhinged. These are, for the most part, awful people and their fortunes and foibles are writ large.
The Guccis, not surprisingly, embraced the ethos of Leona Helmsley, Donald Trump, and others that only stupid people pay taxes. This is par for the golf course, but sometimes the law catches up with even the rich—just ask Wesley Snipes and Martha Stewart—and sure enough soon the Guccis are swimming in debt and ducking police raids. As if that’s not enough, Patrizia’s marriage is soon on the rocks, and she means to keep it together.
The film follows Patrizia as she unravels into scheming, obsession, and revenge, seeking weaknesses in the family dynamic to exploit for her own purposes. About halfway through the film an important subplot emerges as Patrizia seeks out guidance from a TV psychic named Pina Auriemma. The fortuneteller, played by Salma Hayek, soon become an accomplice to murder (“We’ve run out of spells, it’s time for something stronger,” one says) and soon Patrizia’s husband was dead.
This is perhaps the most interesting role, at least to me as a skeptic, because while psychics often run afoul of the law—despite being rarely prosecuted—they rarely are involved in murders. Auriemma was not only a close friend and confidant of Patrizia, but she also had underworld connection to Benedetto Ceraulo, Ivano Savioni and Orazio Cicala, Sicilian assassins. Patrizia paid them about $300,000 to kill Maurizio, which they did on March 27, 1995. The plan fell apart two years later when anonymous tip led police to wiretap their telephones and they were recorded discussing the killing. Auriemma eventually confessed, which led to the hitmen confessing as well and revealing Patrizia’s role in the killing, eventually leading to her conviction in 1998; she was sentenced to 29 years in prison and served 16 before being released in 2014. Auriemma was sentenced to 25 years and served just over half before her release.
For all the genuine drama and melodrama, the film seems curiously unfocused. The cast are interesting—and Irons and Leto, especially, are a delight to watch. But House of Gucci is perhaps excessive in its excesses. It’s about a backstabbing power struggle in the Gucci family. It’s about a scorned woman who seeks revenge. It’s about the cutthroat world of high fashion in the 1980s. It’s about two and a half hours long, and it either needed more or less Lady Gaga, depending on which way the story wanted to go. It would have been a stronger film (with a tighter plot) had the filmmakers figured out which story they most wanted to tell and stuck with it.