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The Harvard Crimson :: Arts :: MOVIE REVIEW: Mondovino |
 | | From there the documentary spirals wildly to both the deeply individual and personal—one woman’s decision to quit her job; a father’s disapproval of his profit-minded son—and the staggeringly broad—the rights of laborers; the aftermath of fascism; and the costs of globalization. |
 | | Viewers of Mondovino, however, get the additional delicious, if mildly voyeuristic, pleasure of knowing that the film’s heroes, villains, and clowns are all real—so real, in fact, that one can find the fruits of their labor on the shelves of the nearest liquor store. |
 | | Mondovino’s subjects are driven alternately by money, fame, winelust, and terroir, the film’s untranslatable but ubiquitous term meaning something between “soil” and “heartland.” The film itself is driven by its energetic camerawork, tantalizing leads, and a madcap soundtrack ranging from vintage French cabaret to the Kinks. |
| www.thecrimson.com /article.aspx?ref=506497 (515 words) |
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