‘Vermiglio’ Review | Slow War Drama Challenges Religious Patriarchy

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As a cinephile who has been captivated by the enchanting world of cinema for the better part of my life, I must say that “Vermiglio” has undeniably left an indelible mark on me. This Italian masterpiece, set against the picturesque backdrop of a remote mountain village, transports us to a time and place where love, shame, and the relentless march of fate intertwine in a delicate dance of human emotion.

In the secluded mountain town of Vermiglio, Italy, the life of a family who harbor a World War II deserter from Sicily is significantly altered. Director Maura Delpero skillfully weaves a poignant tale revolving around secrets, deception, and the oppressive influence of patriarchy within a religious and closed-off community.

In 1944, the Graziadei family gathers in their separate rooms to combat the chill. The elderly Cesare, a revered teacher of the town, shares a bed with his wife Adele and their newborn son, their ninth child. The narrative mainly focuses on their three daughters who sleep together. Lucia, the eldest, is thoughtfully awake while Ada, the indecisive middle child, hears Flavia, the youngest and intelligent girl, inquire about the man concealed in the barn. Is it the Germans who seek him?

Secret Lust & Religious Repression

The next morning, the injured Pietro joins everyone for breakfast. Cesare permits him and Attilio, their wartime-fleeing cousin, to stay in the barn. The villagers will safeguard their secret if they contribute to the community by cutting wood and assisting others. While Cesare conducts classes during the day, he also expects Pietro, who is illiterate, to participate in his adult learning sessions. Lucia casts furtive glances at the mysterious newcomer.

Flavia discovers Ada privately engaged behind the wardrobe, but fails to grasp the meaning of this act. Afterward, Ada quickly seeks forgiveness through prayer as guilt sets in. The sisters share the same awakening of carnal feelings, similar to Lucia’s. They all join their siblings for a church service later on. Lucia brightens when Pietro carries her younger brother; he has given her another thoughtful note that hints at his growing affection.

A Strong Patriarch and His Daughters’ Desires

In the opening scene of Vermiglio, there is limited dialogue. Instead, Delpero (who previously directed Maternal) uses visual cues to provide crucial information about the characters. Cesare isn’t a despot; instead, he’s well-educated and appreciates knowledge, but he exerts his power over his family and the town with strict expectations. Adele, who is focused solely on feeding her hungry children, lacks the time and inclination for intellectual discussions. Cesare ensures that his wife, sons, and daughters comprehend their roles in the social hierarchy without resorting to violence or excessive force. Defiance isn’t even a consideration; he views himself as both a father and an educator, a learned man who thinks he knows best for everyone.

Pietro plays a significant role in the story without being the main character. He speaks very little, yet his presence stirs up trouble within the established order. His character bears the marks of war, yet he cannot conceal his tender feelings for Lucia. She becomes deeply infatuated with him, even though their relationship poses a real danger due to its clandestine nature. The sisters are captivated by their passionate connection. Flavia’s intelligence keeps her from getting too carried away, but Ada’s exploration of sexuality is the most intriguing aspect of the film.

Delpero underscores the lack of avenues for open questioning among women, highlighting that Ada’s private moments of self-punishment for dishonoring God result in unexpected twists. The bond between the sisters is profound, yet certain boundaries remain unbreachable. Sexual desires and earthly passions were sources of embarrassment to be concealed. Indulging these urges was a perilous act in an environment devoid of options or leniency. Actions taken in haste can bear substantial repercussions, a theme masterfully executed by Delpero’s script.

A Slow but Beautifully Crafted Story

In Vermiglio’s film, the stunning landscapes and meticulous production create a powerful backdrop that shapes the characters’ interactions. The isolated village, with its snow-capped buildings perched on rugged mountainsides, underscores a sense of confinement and surveillance. Gossip travels fast in such a close-knit community, and it’s no secret that Pietro and Attilio are deserters. A pivotal scene at the local pub sees the men debate between cowardice and self-preservation, revealing deep-seated notions of masculine dominance. Despite their shared responsibility in sheltering the soldiers, women and children remain marginalized, their voices unheard even though they too participate in upholding the military facade.

The story of Vermiglio is a gradual process, moving at the pace of molasses flow at times, but it’s not wasted screen time. It gives the characters, including Cesare and the sisters, room to develop. It might seem slow, but it’s building up to something significant. Delpero takes her time with every aspect of the story, leading to a powerful climax that justifies the wait, despite one notable issue. One would expect some caution from the girls regarding a soldier surrounded by them, with no other prospects. Cesare’s actions, left unchecked, require a certain amount of suspended disbelief.

The film titled “Vermiglio” was jointly produced by Cinedora, Charades, Rai Cinema, Anonymous Content and others. As of now, it is being screened in a limited capacity at New York City’s IFC Center, with further screenings scheduled to start in Los Angeles on January 3rd through Janus Films.

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2024-12-28 05:32