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Criticism | Lady Gaga steals the show in exaggerated Italian soap opera “Casa Gucci”



After revolutionizing the music scene, Lady Gaga decided to bet her chips on another sphere of entertainment and migrated to comedy. Winning a Golden Globe for her acclaimed performance in “American Horror Story: Hotel” and an Oscar nomination for her flawless work on the musical novel “A Star Is Born”, Gaga has proven to be one of the most successful artists. versatile of history, leaving its mark wherever it wants to go. Three years after the acclaimed feature film directed by Bradley Cooper, the actress and singer is ready to play her next character: Patrizia Reggiani.

The dense name is unknown for some reason, as Reggiani became one of the key players in the murder of Maurizio Gucci, heir to the iconic Italian house that bears his name. Patrizia and Maurizio married in the 1970s and were immersed in a whirlwind of feelings and betrayals that culminated in one of the most shocking tragedies in fashion history. After being turned into a book in the care of Sarah Gay Forden, the narrative was brought to the big screen through the eyes of legendary director Ridley Scott, responsible for masterpieces such as “Gladiator” and “Alien – The 8th Passenger ”, and won the title of“ Casa Gucci ”- promising to unveil all the drama and glamor surrounding the main family. However, despite high expectations, the iteration met with technical and creative excesses, eclipsed only by the incredible performances of a top-level cast.

For those unfamiliar with the plot, Patrizia (Gaga) and Maurizio (Adam Driver again in a spectacular rendition) ventured into a romantic bond when they were younger – much to the dismay of some and to the happiness of some. others. Their relationship had a controversial reception from the Gucci’s, especially Rodolfo (Jeremy Irons), father of Maurizio, who said a member of Italian fashion royalty could not mingle with a family who had support for business and support. Even with so much adversity, the two decided to tie the knot and distance themselves from those who might harm them – that is, until constant twists bring them back to 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 is transmuted into a socialite with enviable solidity, adopting each of their mannerisms and characteristics to construct a very demarcated arc that begins with romantic idealization, crosses cruel realism, and isolates itself in a quiet madness that is not. able to accept that things don’t get out of your way. Driver, on the other hand, isn’t content with the mundane heroism that accompanies victims of vengeful plots, giving Maurizio’s personality a brash side that is often overlooked – which is why their chemistry (or its deliberate lack) emanates from it. screen with fervent anguish. .

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But the couple are not the only ones to delight us; Gaga and Driver are joined by a cutting edge cast that includes an unrecognizable Jared Leto as the funny-looking Paolo, whose mastery matches the character in an explosion of events that reflect the mercenary rot that lurks behind dazzling dresses and accessories. coveted; Irons gives body and soul to the brief moments on screen as Rodolfo, while Salma Hayek saves the glory days of Pina Auriemma, Patrizia’s confidante and friend, in a chameleon interpretation. At the top of this “pie” of talent, we have Al Pacino as the ruthless and charming Aldo, who takes over the shares of Gucci after the death of his brother, Rodolfo, and becomes the target of Patrizia’s immeasurable ambition (who don’t think twice before outwitting him and defeating another enemy on his list).

While there aren’t enough qualifications to describe the power of the main and supporting cast, the same can’t be said for the conduct of the work. Given that this is a crime drama, the daring doesn’t seem very much in line with what the film is trying to deliver – but that doesn’t mean Scott didn’t need to give himself so much to the formulas. . After all, the filmmaker addresses three main problems here: the first lies in the long duration of the scene, 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, in particular the editing, the construction of which is fragmented and too abrupt not to disturb the spectators; and, finally, there are obstacles that Becky Johnston and Roberto Bentivegna’s screenplay stumbles, involving a momentary loss of rhythm.

Either way, good intentions have spread throughout this epic soap opera – and it even recaptures classic Hollywood glamor, which is why the outcome is positive and should appeal to fans of both. Gaga and those who expect a melodramatic foray with all the over the top elements we love. . With an atmosphere that hints at mafia characteristics and guides us on a mouth-watering journey, ‘Casa Gucci’ may not be the best release of the year, but it is without a doubt a burlesque and full epic. spirit that deserves to be verified. his own artistic overdose.

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