Wanna: review of the Netflix docu-series

The controversial story of the TV seller Wanna Marchi, the first TV star, then convicted of scam, told without filters in 4 episodes.

From 21 September 2022 available on Netflix the new original Italian docu-series: Wanna by Alessandro Garramone, on the rise and fall of the TV seller Wanna Brands. 4 episodes directed by Nicola Prosatore written by Garramone himself and Davide Bandiera. A Fremantle Italia production.
His “Agree?“Shouted in a shrill voice, they entered the common language and made the history of TV, or rather, of teleshopping: the most famous TV barker in Italy, notorious for her scams, for that career born and died in the spotlight, returns to TV to tell about her controversial life.

Wanna – Birth and death on TV

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The story is well known: Wanna Marchi is on the crest of the wave in the 80s, its products are selling like hot cakes: the alleged miraculous, slimming, slimming creams, the famous “belly shaper”, cosmetics that promise desperate housewives all over Italy results in a short time and a new life to be happy and keep your husbands close, to no longer be “trunks for home“. These are just some of the provocative and aggressive slogans – “Oh Fat! Oh Lardosa!“”Fat!”- with which the incorrigible Wanna conquers the public, the popularity and above all builds an empire thanks to extraordinary sales. Direct, incorrect, cynical, Wanna Marchi pierces the screen and is successful, despite her annoying insults that today would have cost her to leave the TV in 5 minutes. At her side, her faithful daughter Stefania Nobile, the same temperament as her mother, the same way of facing life, of working. Then the first fall in the 90s, when their empire crumbles and then manages to rise again by choosing to sell something that does not exist this time: luck, with amulets and “winning” numbers studied by the life master Do Nascimento. All this turns out to be a scam carried out to the sound of threats and extortion revealed in an investigation by the transmission of Canale 5 Striscia la Notizia. The TV that brought it to the fore finally destroys it, perhaps.

Wanna, cinematographe.it

It is a profitable period for series that tell of unscrupulous scammers, of evil characters willing to do anything for money and success: from the miniseries with Amanda Seyfried The Dropoutto Netflix docuseries The Tinder scammer And The most hated man on the internetjust to name a few, all chilling stories told with skill.

Wanna is certainly not far behind, confirming once again the quality of Netflix documentaries. The series involves in the story of the parable of Marchi witnesses of that era, former collaborators and friends, former television salesmen, lawyers, journalists and of course the two absolute protagonists Wanna Marchi and Stefania Nobile. A tight montage of archive footage that has remained engraved in the minds of a large part of the public marks the testimonies: the famous teleshopping, the trial, the investigation by Striscia la Notizia, the images of Wanna’s glory days that was treated by the public and the media like a diva.

It starts from the glorious 80s, those of economic well-being, those that see the proliferation of private television stations and consequently the teleshopping with their salesmen, weird characters, like the “mustache” Roberto Da Crema, who quickly become popular .

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Jimmy Ghione of Striscia la Notizia

Between public and private, between shocking confessions, typical expressions of the Marchi style, the docu-series reveals without filters not only the path destined for the abyss of the two TV sellers but also their personality, their way of doing things, the character that always seems to be the same. himself, contemptuous of the mistakes and harm done to the victims of their scams. What is usually cut in a documentary, in Wanna it becomes part of the story itself: like the comments of Wanna Marchi and daughter towards the victims, towards the customers, considered idiots to be deceived, “Because the balls have to be fucked in the ass“Marchi cynically glosses looking into the room, or the anathemas to her ex-husband -“I’m cursed even in death it haunts me“- or to Mrs. Fosca Marcon, the one who first opened” Pandora’s box “by reporting the scams of the Brands to Striscia la Notizia and triggering an unprecedented television investigation:”I think he’s in hell“.

Wanna – The woman who sold her fortune

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A phenomenon of custom that still appears inexplicable today, a precursor of that pounding marketing that today invades social media: Wanna Marchi and Stefania Nobile as two ante litteram influencers were able to sell dreams of beauty and luck, to delude inexperienced or simply fragile people to be able to heal diseases, addictions, to be able to ward off death. What emerges from Wanna it is the portrait of a villain who is not ashamed to show himself as such, faithful, like his daughter Stefania, only to herself, both always consistent in the way of acting and thinking, this must be acknowledged.

There have already been and will be controversies against a product that in no way enhances the two protagonists of this horrible story, as had already happened for SanPA – Lights and darkness of San Patrignanoanother interesting Netflix original Italian docu-series, but we must keep in mind that documentaries like this have the merit of telling not only the society of the time but also that of today, in fact there are still many scams perpetrated by all kinds of barker and many characters with ephemeral success, with little talent who make a fortune thanks to millions of followers. I am Wanna Marchi, and who are you? I don’t know you“, He says in one of the many archive footage with a mischievous smile, an image that hasn’t changed, that still smiles at us with a mocking grincertain of her reasons, while others like her will continue to “screw us” by selling us illusions.


Direction – 4


Screenplay – 4


Photography – 3


Sound – 3


Emotion – 3

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About David Martin

David Martin is the lead editor for Spark Chronicles. David has been working as a freelance journalist.

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