As a connoisseur of cinema who has witnessed the grandeur and the grit of war portrayed on the silver screen, I must say that “Battleground” (or “Campo di Battaglia”) left me with a sense of unfulfilled potential. Directed by Gianni Amelio, this film offers a sobering look at the aftermath of World War I, focusing on the moral dilemmas faced by doctors treating wounded soldiers.
In “Battleground” (or “Campo di Battaglia”), director Gianni Amelio’s thoughtful exploration, we find doctors tending to wounded soldiers as World War I reaches its end. Though the war seems distant, it is surprisingly proximate. The film focuses on a small-scale drama involving a trio of former medical students who disagree over the ethical implications of their work. Raising relevant and thought-provoking questions, the movie fails to develop into a truly impactful dramatic piece.
As a war enthusiast, I can’t help but share my thoughts on “Battleground,” a film that unfolds primarily within a military hospital, far from the battlefront. This powerful narrative provides a haunting glimpse into the Great War, exposing the gruesome physical and mental wounds inflicted upon soldiers who are rushed in on stretchers for treatment.
Two military doctors, Captain Stefano (Gabriel Montesi) and Lieutenant Giulio (Alessandro Borghi), with contrasting ethical perspectives, are treating and prioritizing patients in this setting. While Captain Stefano is a high-ranking officer from a prominent family who feels his role is to expedite soldiers’ return to combat, Lieutenant Giulio, originating from a humble background, exhibits a more empathetic approach. However, unbeknownst to the medical team, Lieutenant Giulio covertly aggravates the injuries of already wounded soldiers, in some cases causing blindness or amputation, to prevent their re-deployment.
In their medical school days, Stefano and Giulio became close friends. However, an undercurrent of tension has been growing between them, with Stefano struggling to comprehend that it’s Giulio who is betraying his duty by aiding soldiers in their escape from the battlefront. This aspect of the storyline, penned by Amelio and his frequent collaborator Alberto Taraglio, raises some questions: The hospital where they work appears small, with few other medical professionals present, making Giulio the prime suspect for assisting injured soldiers evade their responsibilities. Another questionable element is the character of Anna (played by Federica Rosellini), a former student who joins them as a nurse. She finds herself entangled in a dilemma of morality and love triangle.
The rigid dialogue and guidance weakened the potential impact of the film’s exploration of World War I’s countless victims, some of whom play significant roles at the beginning. Interestingly, some of the young characters from Sicily and other economically struggling regions of Italy are more captivating and dynamic than the two overly formal doctors, who are so rigid that they become rather uninteresting to observe.
In the ’90s, Amelio created some excellent films like “The Stolen Children” and “Lamerica“, however his most recent work seems more suitable for television than cinema. The cinematography appears lackluster, and while the dramatic situations involving doctors, who are torn between their duty, humanitarianism, and the dilemma of saving a life versus mutilating a living body to do so, are thought-provoking, the tension remains subdued and fails to reach a rolling boil.
In its final act, the play Battleground takes on a new significance as characters start showing up at the hospital with severe coughs and fever, reminiscent of the 1918 Spanish flu’s early victims. Instead of deaths from gunfire and explosions, it’s now a rampant disease that’s claiming lives. Medical staff don masks, and the unsettling echoes of the recent pandemic become evident without needing a Moderna or Pfizer booster shot for reminder.
As a gamer immersed in “Battleground”, I found myself drawn into a chilling narrative where Amelio masterfully weaves together the fates of our heroes, transporting us to a grim quarantine facility, a place where my comrade Giulio faces an inevitable fate. The story’s bleak conclusion offers little promise for Giulio’s survival or anyone else in this desperate situation. History tells us that WWI was followed by an influenza pandemic that claimed countless lives, lasting approximately two years. In “Battleground”, there’s no triumphant end, but Giulio fought valiantly until the very end.
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2024-09-02 01:24