Author Archives: Fabrizio del Wrongo

About Fabrizio del Wrongo

Recovering liberal arts major. Unrepentant movie nut. Aspiring boozehound.

It is Like Losing a Limb

Fabrizio del Wrongo writes: Monday, November 17. This was a black day in our calendar. At seven o’clock in the morning, it being our watch below, we were aroused from a sound sleep by the cry of “All hands ahoy! … Continue reading

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A Witness Like Homer

Fabrizio del Wrongo writes:   Then [Alexander] came to Phrygia. When he reached the river Scamander, into which Achilles had sprung, he leapt in also. And when he saw the seven-layered shield of Ajax, which was not as large or … Continue reading

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Rather to Bear and Forbear

Fabrizio del Wrongo writes: Scythrop, attending one day the summons to dinner, found in the drawing-room his friend Mr Cypress the poet, whom he had known at college, and who was a great favourite of Mr Glowry. Mr Cypress said, … Continue reading

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Notes on “The Sin of Harold Diddlebock”

Fabrizio del Wrongo writes: One of Preston Sturges’ least known works, “The Sin of Harold Diddlebock” is a wry and tenderhearted tribute to American failure — a sort of inverse Horatio Alger story. Sturges uses the movie to comment on … Continue reading

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Notes on “The Island at the Top of the World”

Fabrizio del Wrongo writes: There is little build-up to the adventure story presented in the 1974 “The Island at the Top of the World.” Almost immediately after their initial meeting, an aristocrat and an archaeologist set out for the Arctic … Continue reading

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Notes on “Roma”

Fabrizio del Wrongo writes: In “Roma,” writer-director Alfonso Cuarón rationalizes chic aesthetic loop-the-loops by pretending to social consciousness. The movie concerns an indigenous maid who serves a white Mexican family. Though critics have compared it to Italian Neorealism, its canned … Continue reading

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Notes on “First Reformed”

Fabrizio del Wrongo writes: “First Reformed” has cozied up to elite movie reviewers (to the extent that such still exist) through its surface resemblance to the films of Bresson and Bergman. In it they imagine they see an expression of … Continue reading

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