Author Archives: Fabrizio del Wrongo

About Fabrizio del Wrongo

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

Notes on “Hail the Conquering Hero”

Fabrizio del Wrongo writes: A young man rejected by the Marines for chronic hay fever becomes a celebrity in his hometown when he’s taken for a hero of Guadalcanal. The fraud is perpetrated not by the hay fever sufferer, named … Continue reading

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Notes on “The Chant of Jimmie Blacksmith”

Fabrizio del Wrongo writes: Fred Schepisi’s unsettled and peculiarly wrenching “The Chant of Jimmie Blacksmith,” though it’s finally available on disc, isn’t discussed much among movie buffs. It’s too bleak and too at odds with contemporary values for broad acceptance. … Continue reading

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Notes on “The Red Violin”

Fabrizio del Wrongo writes: Like writer-director François Girard’s other well-known picture, “Thirty Two Short Films About Glenn Gould,” “The Red Violin” is a series of short subjects. Here, though, Girard attempts to link these subjects into a mystical narrative based … Continue reading

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Notes on “Iceman”

Fabrizio del Wrongo writes: “Iceman,” released in 1984, has a fairly cornball screenplay, but it’s elevated by its director and star. That star is John Lone. Playing a Neanderthal who is unfrozen after 40,000 years on ice, Lone is passionate … Continue reading

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It Might Have Been a Lost Soul Wailing

Fabrizio del Wrongo writes: Dark spruce forest frowned on either side the frozen waterway. The trees had been stripped by a recent wind of their white covering of frost, and they seemed to lean towards each other, black and ominous, … Continue reading

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Notes on “Cluny Brown”

Fabrizio del Wrongo writes: The 1946 “Cluny Brown” is probably the most offhand thing director Ernst Lubitsch did during the sound era. It’s so offhand that it’s almost Buñuelian. Certainly, it’s the most surreal of Lubitsch’s late works. Jennifer Jones … Continue reading

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Notes on “Cruising”

Fabrizio del Wrongo writes: It’s possible that writer-director William Friedkin allowed “Cruising” to go so far, to be so extreme, in part because he felt that his experience directing the 1970 “The Boys in the Band,” often acknowledged as the … Continue reading

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