‘Vermiglio’ Review: Sprawling Italian World War II Drama Engages and Impresses, but Never Rivets

As a connoisseur of cinematic tales that weave the intricate tapestry of human experiences, I found myself captivated by Maura Delpero’s masterful narrative, “Vermiglio.” Born and bred in the heart of Italy, my own family stories echo some of the themes portrayed in this film. The village life, the struggles of a large family, the weight of secrets, and the profound impact of war on ordinary lives – these are narratives that resonate deeply with me.

As a gamer immersed in an alternate history, I find myself in the peaceful mountain village of Vermiglio, nestled amidst rugged landscapes untouched by World War II‘s chaos. Life here seems to follow a rhythm unchanged for centuries, though there are whispers of subtle adaptations. In Maura Delpero’s thoughtful and somewhat traditional second film, I navigate this timeless village, exploring the echoes of history that still resonate within its walls.

Drawing on the director’s personal family background, the film Vermiglio explores how both worldwide and local occurrences influence the lives of the extensive Delpero family, a group who enjoy a slightly elevated social standing within their community due to Caesar (Tammaso Ragno), the clan’s patriarch, being the local schoolmaster. However, the appearance of Pietro (Giuseppe de Domenico), a war veteran with an interest in Caesar’s daughter Lucia (Martina Scrinzi), will bring about significant consequences.

Despite its brief runtime of just two hours, an overabundance of subplots seems to slow down the pace, making it somewhat lethargic. However, the movie’s portrayal of a nearly extinct rural lifestyle is captivating, and the melodrama is engaging enough to suggest that it could have been more effective if it were stretched out as a TV series for a more detailed exploration.

Delpero showcases her talent for working with actors, particularly young and inexperienced performers, as evident in her recent acclaimed play Maternal. In this film, many newcomers are featured, primarily children who make up the central Delpero family. Despite Caesar’s silver hair suggesting a grandfatherly figure, he remains enthusiastic about exercising his marital rights with his younger wife Adele (Roberta Rovelli), who has already borne approximately ten children.

Throughout the movie, Adele tirelessly carries on her role as a mother, either pregnant or nursing a newborn infant, thus burdening her widowed sister Cesira (Orietta Notari) and the older children with additional household responsibilities. Of all the tasks assigned, Lucia, the eldest child, seems to find solace in milking the cow every morning. This routine might provide her with a small moment of tranquility amidst the bustling household, a respite from the other kids who share limited sleeping spaces and spend their nights chattering about secrets, aspirations, and dreams.

One day, my son Attilio (Santiago Fondevila Sancet) comes home from the war, wounded and clearly traumatized. Accompanied by a fellow soldier from the front lines, Pietro, who’s always been quiet and reserved. Despite his shyness and lack of education, Pietro finds a connection with me, Lucia, which leads to him proposing marriage upon learning I’m pregnant. When the war finally ends, he feels obligated to return home to Sicily to check on his mother. I support his decision and agree to his departure, but as days turn into weeks without any news from Pietro, my spirits sink, and I find myself overwhelmed with sadness and isolation, my mental wellbeing deteriorating rapidly.

Simultaneously, the rest of the family grapples with hardship due to poverty and wartime conditions. Adele and Caesar argue when he uses some of their meager funds to purchase a new Vivaldi “The Four Seasons” gramophone record, as music is one of his deep-rooted interests. He even tries to instill this love in his students through an emotional class lesson. However, the family can only save enough money to send one child to a city school for further education. They must choose between Flavia (Anna Thaler), who is intelligent, and Ada (Rachele Potrich), who is diligent, as to which child would gain more from this opportunity.

Amidst the turbulent family conflicts, Delpero underscores the consistent patterns of seasonal transitions and farming tasks by capturing extended, leisurely shots of characters moving methodically across the rugged terrain. Cinematographer Mikhail Krichman, who has filmed every one of Andrey Zvyagintsev’s films from “The Return” to “Loveless,” creates a feeling of grandeur in the expansive landscapes, snowy vistas, and mysterious forests that, in the spirit of Romanticism, are not just beautiful but also ominous. Nature provides for these people yet can also be destructive, posing particular threats to the most defenseless such as newborn babies.

It requires an entire community to ensure their survival through winter, yet there’s a deep concern about how long this community will remain united after the war ends. Many are eager to leave and start afresh elsewhere, or simply move to another place where past scandals won’t haunt them. That’s why one sister is considering joining a convent as an alternative to staying at home.

2024-09-02 19:55

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