Two non-processual biopics

As a non-narrative type, I prefer a generous portion of process to help a biopic go down, some sort of explanation about the function of those institutions that surround the principals and their personal dramas. It's why The Queen (Stephen Frears, 2006) remains my favorite biopic/middlebrow film - damn near every nanosecond concerns process. House of Gucci (Ridley Scott, 2021) dives deep into the sordid relationship between Patrizia Reggiani (a perfectly fine Lads Gaga) and Maurizio Gucci (Adam Driver). But even though their squabbles lead to murder, they make for conventional drama, especially when there's not much camp to spare (apart from some fab outfits). I was much more fascinated to learn that Gucci flooded the market with fake Gucci goods to pump up the brand, a subject that could've filled at least an hour of screen time. Instead, we're treated to 158 minutes of soapsuds. Too bad we can't set James M. Cain on this to watch it snap.

Aline (Valérie Lemercier, 2021) seemed promising since the trailer appeared to hoodwink us into thinking its story of Québécoise chanteuse Aline Dieu had nothing whatsoever to do with Celine Dion. But a fatal lack of camp (or even kitsch) allows for few yuks. Lemercier, who co-wrote the screenplay and stars as Aline, hits all the highlights of Dion's life with Wikipedia-worthy dutifulness. The sole perversity is 57-year-old Lemercier's decision to play Dieu at all ages of her life, even as a child, which makes for some eerie CGI moments. I wanted to stay in the record store where Dieu records were flying out the door and learn more about the Québécois music industry. But of course, Dieu/Dion transcended locality and then some and so soon we're off to Vegas and the Oscars and a good nap.

House of Gucci: B

Aline: B-minus