House of Gucci 4K 2021 Ultra HD 2160p

The film is based on the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed by Sarah Gay Forden. The film is about the murder of businessman Maurizio Gucci in 1995. According to investigators, the former wife of Maurizio Patricia Reggiani organized the crime. She was found guilty and sent to prison for 29 years, releasing early in 2016.

House of Gucci 4K Review
Ridley Scott is shooting with a doublet this year: following The Last Duel, which can still be seen in cinemas, The House of Gucci, a new work by an overgrown master, is released. You definitely don't expect such creative agility from an 84-year-old perfectionist director, who also shoots not small chamber tragicomedies like Woody Allen, but two and a half hour historical epics with Oscar ambitions. But Scott's long-known versatility is even more striking: following the conceptual chivalric film novel in the spirit of Rashomon, he makes a shocking drama about a famous family from the fashion world, collapsed under the weight of ambitions.

Patricia Reggiani (Lady Gaga, who seems to have earned her acting Oscar now too) meets a modest lawyer Maurizio (Adam Driver) at a party, in which her last name, Gucci, fascinates her much more than her appearance or character. She seduces the guy, and soon he is ready to marry, despite the threats of father Rudolfo (Jeremy Irons) to deprive him of his inheritance. The couple moves into a small apartment, Maurizio washes cars with his father-in-law until Aldo Gucci (Al Pacino) contacts him. Uncle wants the guy to work for him: especially since the eccentric native son of Paolo (Jared Leto) is good for nothing. Maurizio is not eager to engage in family business and is happy in his simple position, but this alignment does not suit Patricia. She begins a complex behind-the-scenes game, which eventually ends in scandal, a series of betrayals and murder.

Ridley Scott is not the first to address the world of evil rich people, corrupted and dehumanized by their exorbitant bank accounts. His painting "All the Money in the World" has already peered into how relationships within the family are distorted under the weight of financial disagreements. "House of Gucci" to some extent can be considered a continuation of this conversation, perhaps with a slightly changed intonation. Scott dilutes a rather frightening story of moral decay with jokes, caustic dialogues and almost farcical eccentricity. This is especially striking in the image of Paolo Gucci, a uniquely comical character, as if sneaking into an academic drama from somewhere in the parody "Model Male". The director saturates the sad story with a heap of absurd details that fit surprisingly well into the universe of people who have gone crazy with boredom and greed: they are baptized in the name of the "Gucci house", and they plan their personal lives according to Tarot cards, almost like the Bond villain from Live and Let die," because they are no longer capable of independent reflection.

The cold world of the billionaire Getty from All the Money in the World has been replaced by sunny Italian villas and a flashy outrageous fashion industry. And a very unambiguous conflict - the grandfather's unwillingness to allocate money to ransom his grandson from the kidnappers - was replaced by much more abstract things. Lust for power, jealousy, the quiet horror of life in a world where any attachment becomes an unequivocal weakness. It would be a great platitude, but also a great omission, not to compare the film with "The Heirs" - another darkly comic story about a family business and the destructive power of money. But only if Jesse Armstrong's series shows the already formed world of aggressive capitalism, where any hint of sincerity causes instant rejection and suspicions of another deception, then "House of Gucci" captures the birth of this cannibalistic culture. It shows exactly the moment when family relations within the company finally ceased to have at least some significance. When the real Gucci became not those who were born in the family, but those who manage a multi-million dollar company, and the brand replaced the surname. It is not for nothing that Patricia Reggiani is compulsively reminded that she is "not the real Gucci", and it is not for nothing that at the final trial she asks herself to be called by the name of her deceased husband. For her, seizing power in the family is the only chance to become part of it. And murder is just a kind of rite of passage.

Scott contrasts the "simple" life with the suffocating life of the elite: the only unambiguously joyful scenes in the film are those where the characters give up their position and allow themselves to be human. Maurizio Gucci washes a truck and, like a child, splashes water with a colleague. Aldo Gucci, despite the betrayal of his son, hugs him like for the last time, saying that he, of course, is an idiot, but he is still "his idiot." As, by the way, in "Duel", Ridley does not leave much understatement - in his advanced age he knows exactly what he wants to say, and is not afraid to be straightforward. And in life, where Scott scolds millennials with their mobile phones, how much in vain, and in the movies.

He treats the real events on which the plot of the film is based in the same way as he treats the correctness of accents: in other words, he absolutely does not care. Ridley Scott completely subordinates the historical truth to the creative plan. In fact, the Gucci family drama did not develop quite like this, the events in it are mixed and changed, and some are completely ignored. What happened over decades, in the film looks like the events of several months. Yes, maybe that greatly simplifies reality. Yes, probably, Paolo Gucci was not such an idiot as he looks on the screen, and Patricia Reggiani is not such a transparent character in real life. But the "House of Gucci" works precisely because it leaves only the main thing. Turns life into an intelligible parable, and shows the main character as the personification of the thirst for money - an alarming symbol of the new era that so scares the old Ridley.