“House of Gucci” is a movie about passion, not fashion.
The soap-opera-like tale, which tells the true story of the 1995 murder of fashion heir Maurizio Gucci by thugs hired by his ex-wife Patrizia Reggiani, is also — if you believe the trailer, which touts the following themes, in all caps — about money, family, power, betrayal, sex, loyalty, scandal, ambition and murder. Presumably, all that content explains why the film needs to be 2 hours 37 minutes long. By comparison, “Dune” — which is only a saga of the rise of a psychic space Messiah destined to lead a race of oppressed hallucinogenic-drug miners to freedom on a desert planet overrun by giant, industrial-machinery-eating sandworms — somehow manages to be two minutes shorter.
The new film doesn’t even get to the divorce or the murder until after the two-hour mark, which is well beyond the point at which a lot of very fine movies have already rolled their closing credits. So what does “Gucci” do with all that precious time?
Not much, as it turns out.
Directed by Ridley Scott, it’s one of those prestige true-crime dramas that — unlike the director’s thematically similar, yet deliciously, darkly cynical “All the Money in the World,” about the 1973 kidnapping of John Paul Getty III — run through a checklist of events without ever seeming to draw any cautionary lesson or larger point.
None of which would be a problem, if “Gucci” were half as much fun as I’m about to make it sound. After all, who doesn’t love a good, tawdry scandal?
On paper, at least, the facts have the makings of make an entertaining, if campy yarn. Based on Sara Gay Forden’s 2000 nonfiction book, the film follows the relationship between wealthy Gucci scion Maurizio (Adam Driver), a nerdy law student who, as the film opens in 1978, seems to have little interest in pursuing the family business, and Patrizia (Lady Gaga), a woman of modest means who’s working for her father’s trucking company. “Mafia!,” snorts Maurizio’s father Rodolfo (Jeremy Irons) dismissively, before briefly disinheriting his son.
Patrizia comes across like a bit of gold-digger. Her eyes light up at the name Gucci when she and Maurizio first meet, and then she seems to be stalking him. Once things turn sour, she seeks the advice of a TV psychic (Salma Hayek), who becomes an accessory to the film’s climactic crime. (cont.)