Author Archives: Fabrizio del Wrongo

About Fabrizio del Wrongo

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

The Ambersons Were Magnificent in Their Day and Place

Fabrizio del Wrongo writes: Major Amberson had “made a fortune” in 1873, when other people were losing fortunes, and the magnificence of the Ambersons began then. Magnificence, like the size of a fortune, is always comparative, as even Magnificent Lorenzo … Continue reading

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Notes on “Summer Interlude”

Fabrizio del Wrongo writes: A ballerina (Maj-Britt Nilsson), disappointed in love and aging out of dance, impulsively visits an island on which, as a teen, she spent a summer vacation. As she wanders, so does her mind; she remembers her … Continue reading

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Notes on “Enchanted April”

Fabrizio del Wrongo writes:The effectiveness of the 1991 “Enchanted April” is an upshot of its subtlety, its lightness of touch. Director Mike Newell resists making statements or following through on obvious setups. Even the screenplay’s twists seem less like engineered … Continue reading

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Notes on “At Eternity’s Gate”

Fabrizio del Wrongo writes: It’s inevitable that Julian Schnabel’s movie about Van Gogh, “At Eternity’s Gate,” will be compared to Altman’s “Vincent and Theo.” Both pictures attempt to capture the ecstatically enervated aspects of Van Gogh’s art; they’re expressionistic takes … Continue reading

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Notes on “C.H.U.D.”

Fabrizio del Wrongo writes: It stands for cannibalistic humanoid underground dwellers. Released in 1984, “C.H.U.D.” is a late-in-cycle New-York-in-the-’70s movie that in some ways reminds me of Tim Burton’s “Batman,” itself an end-of-cycle New-York-in-the-’70s movie. Certain scenes, like the opening, … Continue reading

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Notes on “Atlantic City”

Fabrizio del Wrongo writes: Like “Nashville,” the 1980 “Atlantic City” is an essayistic treatment of a city. But it’s not brash and satirical like “Nasvhille”; it’s glancing and melancholy-romantic — a loser’s lament. It’s to director Louis Malle’s and writer … Continue reading

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Notes on “Redoubtable”

Fabrizio del Wrongo writes: “Redoubtable” is a demystification of Jean-Luc Godard and a dramatization of his turn to radical politics. Director Michel Hazanavicius lacks the ferocity and lightning wit of the artist he’s spoofing, but his somewhat plodding covers of … Continue reading

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