But the real focus of “Gucci” is the fatal relationship between Lady Gaga’s uncompromising Patrizia and Rodolfo’s bookish son, Maurizio (Adam Driver). Aldo wants to kick the business into the more modern world with innovations such as malls in Japan Rodolfo resists. We’re talking the Italian fashion industry in the 1970s, when old-school Gucci lions Rodolfo (Jeremy Irons) and Aldo (Pacino) prided themselves on the lineage of special cows used to make super soft, artisanal loafers and handbags that cost most people’s annual salary. Hampered by the script's limitations, however, Scent of a Woman falls short of being a masterful production.Ridley Scott’s “House of Gucci” unfurls like an epic crime saga – think “The Godfather” (1972) by way of the hit streaming series “Succession.” It’s got devious parlor games, backroom corporate jockeying, bloody agendas and plenty of unintentional camp, which is both good and bad. Aided by an emotive score from Thomas Newman, the picture has opportunities to soar. It doesn't seem like two and one-half hours, and less time with these characters would have cheated the audience. The movie is as long as its storyline demands. Would it have cost the production team that much to inject a little realism into the film's last reel? Certainly, such "triumphs" are fun to watch, but they cheapen Scent of a Woman. Unfortunately, considering how sound the bulk of the picture is, the final moments, with their overt pandering to a Hollywood-style ending, are a severe liability. Pacino's tango scene with Gabrielle Anwar is one such magical moment - unfettered, unforced, and highly enjoyable. His mix is nearly flawless, and he manages to do almost (and I emphasize almost) the entire film without resorting to manipulative tricks. Director/Producer Martin Brest knows how to blend humor with drama to good effect. There are numerous dynamic scenes in Scent of a Woman, along with a surprising amount of comedy. His relationship with Charlie works because Pacino won't let it fail. If there's anything special about the film, it's that on this occasion, the emotional realism of the characters, especially Slade, is heartwrenchingly believable. In essence, Scent of a Woman is another in a never-ending series of bonding pictures where each person has something unique to offer to the other. This is necessary for the film to succeed, since it's through his eyes that the story unfolds. Although the role of Charlie is understated by O'Donnell, he nevertheless manages to fashion a rapport with the audience. As portrayed by Pacino, there's far more to this man that a rancorous outlook on life and a couple of hearty "hoo-ha"s.Ĭhris O'Donnell, a fresh-but-not-unknown face, is solid, if somewhat obscured in the more experienced man's shadow. Considering some of the roles that Al Pacino has played during his celebrated career (in The Godfather trilogy, for example), it would be hyperbole to say that he gives the "performance of a lifetime" in Scent of a Woman.or would it? For two hours, he brings Frank Slade to life in a way that few others in Hollywood could. They are an elite few, with names like Nicholson, Hoffman, Hackman, and Pacino. There are certain actors that, when they appear in a film, are almost invariably indicators that the production is of high quality. There, amidst all the holiday hoopla, the lieutenant's actions force Charlie into making an emotionally painful - and potentially physically dangerous - decision. The job, which begins as an onerous task performed principally for money, becomes a tour of self-discovery when Slade decides to make an unexpected visit to New York City. Colonel Frank Slade (Al Pacino), an embittered, lonely, blind veteran. Scent of a Woman is about Charles Simms (Chris O'Donnell), a Boston prep school senior, and the Thanksgiving weekend he spends working as the aide and companion of Lt.
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