When the first photos leaked of Adam Driver and Lady Gaga in the Italian Alps, the internet basically broke. You remember the one. Driver was in that massive, cream-colored cable-knit sweater, looking like a giant, stylish marshmallow, while Gaga was draped in furs and gold. It felt like we were getting a masterpiece of camp. Then the movie actually came out. Ridley Scott’s House of Gucci is a strange beast. It’s nearly three hours long, it’s got accents that range from "Russian spy" to "Super Mario," and at the center of it all is Adam Driver as Maurizio Gucci.
Honestly, it's his performance that holds the whole crumbling dynasty together. While Gaga is doing the absolute most (and we love her for it), Driver is doing the absolute least. It’s a fascinating choice. He plays Maurizio as this awkward, gangly law student who doesn't even want his own name. You've got this guy who is the heir to one of the biggest fashion empires in history, and he’s happier cleaning trucks for his father-in-law. It’s a slow-burn transformation.
The Tragedy of Maurizio Gucci
Maurizio wasn't supposed to be the villain. In the beginning of the film, he’s the victim. He’s being hunted by Patrizia Reggiani (Gaga) with the precision of a heat-seeking missile. Driver plays him with this kind of dorky, blinking sincerity. He’s a guy who loves his books and his quiet life. But then, the "Gucci" of it all starts to seep in.
It’s about the corruption of a soul. You see it in the way he starts wearing his suits. At first, they wear him. By the end, he’s tailored to within an inch of his life, looking cold, sharp, and totally detached. He goes from a man who was disowned by his father, Rodolfo (played by a very stern Jeremy Irons), for love, to a man who sells out his own uncle, Aldo (Al Pacino), for a bigger slice of the pie.
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What People Get Wrong About the Performance
Some critics felt Driver was too wooden. They’re wrong. If you look at the real Maurizio Gucci—the guy who actually lived this—he was known for being somewhat indecisive and soft. Driver captures that "trust fund" paralysis perfectly. He isn't a shark; he’s a guy who thinks he’s a shark because he’s surrounded by them.
The chemistry with Gaga is what makes the first hour work. They’re weirdly sweet together. That scene where they’re having sex in the back of the trailer? It’s aggressive, it’s awkward, and it’s very human. It makes the eventual betrayal feel like a gut punch. When he finally tells her "I don't hate you, I just don't want to spend the rest of my life with you," it’s delivered with such casual cruelty that you almost forget he’s the one who’s about to get shot on his office steps.
The Real Fashion Impact
We have to talk about the glasses. Those oversized, vintage-framed spectacles became a character in their own right. Adam Driver mentioned in interviews that finding those specific glasses was a massive part of his process. They acted as a shield.
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- The Alpine Look: That white snowsuit and cable-knit combo? It sparked a 300% increase in searches for "white cable knit sweaters" the week the trailer dropped.
- The Suits: Costume designer Janty Yates built over 50 suits for Driver. They were designed to show his increasing wealth and decreasing empathy.
- The Loafers: The classic Gucci Horsebit loafer is everywhere in this movie. It’s the symbol of the old guard that Maurizio eventually tries to modernize—and fails.
The movie isn't just a biopic; it’s a fashion show that ends in a funeral. It’s also worth noting that the actual Gucci family wasn't thrilled. They called the portrayals "insulting." Specifically, they took issue with Al Pacino’s Aldo being depicted as a "thug," but they were surprisingly quiet about Driver. Maybe because he captured that specific brand of Gucci melancholy so well.
Why the Ending Still Hits
The murder of Maurizio Gucci in 1995 was a tabloid sensation in Italy. In the film, it’s almost quiet. He’s riding his bike, he’s happy, he thinks he’s finally free of the "Black Widow." And then, it’s over.
Ridley Scott doesn't give us a grand, operatic ending. He gives us a cold execution. It reflects the way Maurizio lived his final years—distanced from the family, living with his new partner Paola Franchi, and thinking he had outsmarted everyone. He hadn't. He had just run out of time.
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If you’re looking to dive deeper into the real history, you should check out Sara Gay Forden’s book The House of Gucci. It’s much more detailed about the business side of things—how Maurizio actually lost the company because he was a terrible businessman, not just because he was a bad husband. He spent money like it was water, renovating headquarters while the company was in the red.
Actionable Takeaways for Movie Buffs
- Watch the background: Pay attention to how the color palette shifts from warm oranges and browns in the 70s to cold blues and greys in the 90s. It mirrors Maurizio’s emotional state.
- Compare the accents: Notice how Driver keeps his accent subtle compared to Jared Leto (who is essentially playing a cartoon). It’s a masterclass in "less is more."
- Check the history: Read about the actual trial of Patrizia Reggiani. She didn't just hire a hitman; she consulted her psychic, Pina (Salma Hayek), for the whole thing.
The Adam Driver House of Gucci era was a peak moment for "unconventional leading man" energy. He took a role that could have been a footnote to Gaga’s performance and turned it into a haunting study of what happens when you inherit a legacy you aren't strong enough to carry. It’s messy, it’s stylish, and it’s deeply Italian.
To better understand the nuances of the performance, watch the scenes where Maurizio is alone. Those moments of quiet calculation tell a much darker story than the loud arguments.