Because of that, it really resonates why Maurizio is extremely content and happy to work for his in-law’s, and leave the burden of his name behind him. Through beautifully shot family dinners and lush courtyard conversations in and around Gucci's huge estates, Scott does a fine job setting up the implied dynamics of the haves and have-nots in the story, and how Maurizio’s life has always been orchestrated behind the scenes by the men in his family. Their polar opposite character vibes make for a very charming, and for a moment, smouldering hot courtship that grounds the characters and our feelings about them before they take on his Gucci relatives.Īnd the duo are forced to enter the maelstrom of his world-famous family when his father, Rodolfo Gucci (Jeremy Irons), rejects Patrizia as a gold digger and cuts off his son for eventually wanting to marry her. Driver offers us a delightfully and unexpectedly socially awkward Maurizio, which is the perfect catnip to Gaga’s confident yet modest Patrizia. It’s an unexpectedly sweet way to open the film and gives us a sympathetic appreciation for both Patrizia and Maurizio when they meet-cute at a mutual friend’s party. The most successful part of this is the first 45 minutes, during which Scott presents the snappy, romantic, and sexy coming together of Patrizia and Maurizio in 1970. While it opens and closes with Maurizio on the day of his murder, the narrative is so scattershot in trying to service its large celebrity cast that there’s no clairty about exactly whose version of the events this is supposed to be.
With that casting of Gaga as Reggiani, there shouldn’t even be a question that the movie’s point of view belongs to her, yet it surprisingly does not.
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