The facts of this case, though, are sometimes so absurd it makes for a far wilder ride, one in which the accented excesses of the performances only adds to the entertaining vibe, with Gaga at the centre, vamping everything up to eleven.Īnother week, another Lin-Manuel Miranda musical hits cinemas, this time via new Disney animation Encanto, a sometimes likeable, sometimes overbearing adventure about a magical kingdom under threat from a mysterious force that threatens to destroy it. Shot with amped-up opulence, the film represents Scott at his glossiest and, arguably, shallowest, though in many ways it’s an extension of All the Money in the World, his 2017 film about the kidnapping of John Paul Getty III – another Italian-set crime story about the ruthlessness of the one-percent.
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© Encantoįor a while they’re living on the blissed-out fumes of pure love, but when Patrizia meets the other half of the Gucci clan, headed up by the fashion house’s chairman Aldo Gucci (Al Pacino) and his idiot son Paulo (Jared Leto, unrecognisable beneath mountains of prosthetics) the film shifts gears into a campy riff on The Godfather as the hitherto mild-mannered Maurizio makes a series of ruthless plays to reinforce the dominance of the family in the fashion world with the increasingly devious Patrizia pulling the strings.
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From the moment she writes her number on the windscreen of his Vespa in red lipstick he’s pretty much putty in her hands and soon marries her, driving a wedge between him and his father, Rodolfo (Jeremy Irons), who thinks she’s a gold digger.
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Looking like she’s just stepped out of a vintage poster for a Gina Lollobridgia film, Gaga’s Patrizia is a superpowered siren who first meets Maurizio (payed by Adam Driver in giant glasses and meticulous tailoring) at a party when he’s still a law student with no interest in the family business and she’s a secretary with no interest in spending the rest of her life working for her father’s trucking company. It’s a soapy story of thwarted ambition, familial betrayal, sexy clothing, Sicilian hitmen and money grubbing psychics, all of it held together by a sensational turn from Lady Gaga as Maurizio’s scorned ex Patrizia Reggiano, the woman who made him and slayed him. House of Gucci, Ridley Scott’s second major movie in as many months, sees the no-nonsense director take on the irresistibly juicy saga behind the 1995 murder of Maurizio Gucci, grandson of Gucci founder Guccio Gucci and the last member of the family to run the legendary Italian fashion house. Lady Gaga is sensational in Ridley Scott’s glossy take on the saga of the Gucci fashion empire, writes Alistair Harkness © House of Gucci