From Rockstar to Paolo Gucci: Jared Leto's unbelievable on-screen transformation
A trip back in time to Jared Leto's show-stealing transformation as Paolo Gucci. Dive deep into the prosthetic marvel, hair drama, and the intense makeup game that set House of Gucci apart!
Jared Leto (Source: The Daily Beast)
Step aside, simple glam and movie makeovers! Hollywood was never quite ready for what Jared Leto served up in the cinematic sensation House of Gucci. The sculpting of Paolo wasn’t just skin deep. It all began with prosthetics wizard Göran Lundström. Imagine creating a masterpiece without ever having met the canvas. "I didn’t know his hair color, his hairline, and skin tone," Lundström remarked. Without firsthand interaction, he dove into photos and videos of Leto, and oh boy, was he in for a ride: “He had so much hair — thick hair and a low hairline.” 1.5 hours, folks. That's how long it took just to mask the mane!
From Jared to Paolo: Living the gucci life
While his co-stars, Lady Gaga, Adam Driver, and Al Pacino brought the Gucci saga to life in their unique ways, Leto went the extra mile. Not content with just appearing as Paolo, he insisted on living as him. "He would show up on set as Paolo Gucci," says Lundström. Talk about dedication to the character!
Fashion, faces, and the finer nuances
But Paolo wasn't the only character steeped in makeup lore. Makeup maestro Jana Carboni noted the stark contrast between '70s America and '70s Italy, the former more flamboyant, the latter conservative. By the '80s and '90s, Italian women donned their fashion armor, exuding confidence, beauty, and brains. This was perfectly echoed in the makeup evolution of Lady Gaga's character, Patrizia.
Camille Cottin's portrayal of Paola Franchi was another example of exquisite period detailing. An iconic combination of Catherine Deneuve and Monica Vitti, Paola's look was a sun-kissed Milanese masterpiece. It wasn't just about the fashion; it was about setting the tone of the era, the power dynamics, and the underlying character narratives.
Carboni's apt description of the contrasting characters, Patrizia and Paola, brings it all home: "When you see the two women together, they’re opposites. It’s a dark versus light side, but they’re both trouble — strong women but very different.”
Today, as we look back, House of Gucci wasn't just a film. It was a tribute to an era, to a family, and to the art of cinema itself. It was a movie that proved, yet again, that in Hollywood, all that glitters is not just gold – sometimes, it's prosthetics, makeup, and sheer genius!
(Several parts of the text in this article, including the title, were generated with the help of an AI tool.)