“House of Gucci”, a contemporary Shakespearean tragedy by Ridley Scott

Tireless Ridley Scott! Despite the Covid, he managed to achieve two major projects, the medieval “The last duel” (released at the beginning of this fall) and the contemporary “House of Gucci” which comes out this Wednesday.

House of Gucci

In the 80s, the prestigious but aging Gucci brand is in the hands of two brothers: Rodolfo (Jérémy Irons), living in his ivory tower, nostalgic for the past, and Aldo (Al Pacino), emigrated to New York, bling-bling businessman. Each has an heir: Paolo (Jared Leto), son of Aldo, false artist but true failure, and Maurizio (Adam Driver), son of Rodolfo, serious and introverted, who wants to pursue a career as a lawyer. The Gucci house will live a decisive chapter in its history when Patrizia Reggiani, the modest daughter of a truck driver, will fall in love with Maurizio, who, under the spell, will soon marry her. If Rodolfo repudiates this misalliance, Aldo, he welcomes Patrizia with open arms like new blood in the family. The young woman may be uneducated and uneducated, she has a real temperament and will help Maurizio to gain confidence … Until the day when this young heir will tire of her.

The rise and fall of a family dynasty“could have been the subtitle of the film, which brings together all the ingredients of a great tragedy of Shakespeare : passion, jealousy, ambition, rivalry, decline, conspiracy… Nothing is missing in this two-and-a-half-hour river fresco. In a high-end cast – where Pacino and Leto flirt with the heckling, but it’s for a good cause – Lady Gaga wins hands down. Already convincing in “A star is born”, the singer embodies a fiery Patrizia Reggiani at will… With, undoubtedly, a Oscar nomination at stake.


Direction Colombia in the Studios’ new animated feature film Disney. In a small village, several generations of the Madrigal family live in the same large house, protected by the forces of Nature. Every member of the family has magical power except Mirabel, who feels like the ugly duckling in this tribe. But, as events unfold, she will learn to have self-confidence and face certain family secrets …

Directors Jared Bush and Byron Howard, assisted by Charise Castro Smith, already have “Zootopia” and “Vaiana,” which explored the Polynesian culture. With the avowed aim ofexplore new cultures – and that, more implicit, of conquering new markets for disney, they teamed up with a Broadway professional, Lin-Manuel Miranda, to make “Encanto” a musical comedy full of latino rhythms. There is neither witch nor big bad in this very (too?) Colorful film; rather, there are family rivalries that will be resolved in a climate of magical realism. After Pixar’s “Coco” which exploited a Mexican vein, Disney is therefore continuing its journey to the south of the Americas… It is not not dishonorable, but it is not not unforgettable either.

The divide

A couple of Parisian sores is breaking up. Rafaelle, left by Julie, distraught, has a bad fall; head to the emergency department of a large Parisian hospital. Unfortunately for her, the service is in turmoil, because many victims of a demonstration of the Yellow Vests flock that evening in the clinic. Raf, self-centered and disconnected from the news, will learn from contact with Yann, an injured road protester, another social reality …

Catherine Corsini abandons a real controversial subject in “The Fracture” with an a priori interesting point of view, respecting the classic rule of the three units – of place, time and action. But his scenario is served by a wobbly casting : Valeria Bruni-Tedeschi is horrifying as Raf, and Pio Marmaï hardly convinces in provincial proletarian with the rage in the belly… Too bad, because “The fracture” had the merit of being a fiction in the service of the reality of today.

In his lifetime

Benjamin (Benoît Magimel) is a drama teacher, and gives his all with his students… Until the day when the diagnosis falls, relentless : he has pancreatic cancer, incurable, he only has a few months to live. While his mother (Catherine Deneuve) refuses to see reality in the face, Benjamin will forge an increasingly strong relationship with his doctor, Dr Eddé, and Eugenie (Cécile de France), a nurse very moved by his fate.

“In his lifetime” is a film that raised a lot of questions because the shooting was interrupted when Catherine Deneuve suffered a stroke. After several months of rest, the star was able to return to work and the film was shown in a special screening in Cannes to celebrate Deneuve’s return.

The only real originality of the film, it is to have entrusted the role of Dr Eddé to a real doctor of Lebanese origin, Gabriel Sara, who practices musicothérapie to support its patients at the end of their life. But this quasi-documentary touch does not save the staging of Emmanuelle Bercot, who sinks into a heavy and agreed pathos. If Magimel is doing honorably, Catherine Deneuve, confined in a monochrome role of painful mater, does not have much to defend, alas.

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