THE STORY – In 1944, the arrival of a wounded soldier in remote Vermiglio overwhelms the daily life of a teacher and his family, after his eldest daughter falls in love with him and decides to marry him.
THE CAST – Tommaso Ragno, Giuseppe De Domenico, Roberta Rovelli, Martina Scrinzi, Orietta Notari, Carlotta Gamba, Santiago Fondevila Sancet, Rachele Potrich, Anna Thaler, Patrick Gardner, Enrico Panizza, Luis Thaler, Simone Bendetti & Sara Serraiocco
THE TEAM – Maura Delpero (Director/Writer)
THE RUNNING TIME – 119 Minutes
Within a span of just a few days at Venice, two films have emerged with similar themes about soldiers deserting their posts on the frontlines and enduring the fates that come their way. “Battlefield” focused on two wartime doctors with differing opinions on those who run from war, with one going so far as to aid their quests to return home. In Maura Delpero’s sleepy mountain village-set “Vermiglio,” one such deserter finds love in this unassuming setting, but others aren’t quite thrilled with his arrival. Like the quiet nature of this town, Delpero’s film is quite low-stakes and not much for thrills, but she does throw in a few laughs and surprises to keep one’s attention.
Though World War II raged on in Europe, the remote Italian village of Vermiglio was hidden from all the disasters. The days carry on as they always have for one large family; mornings begin by milking the cow and enjoying its gifts at the breakfast table before the children head off to school, where their teacher is their father Cesare (Tommaso Ragno, who looms large in this film). Cinematographer Mikhail Krichman captures the vast, snowy landscape and goings-on around town by placing his camera in one spot and letting us observe the scenery like flies on the wall. Sometimes, we see moments that some would prefer to stay hidden, like when one sister discovers the pleasures she can give herself by hiding behind a wardrobe and punishing herself for her sinful behavior.
Things begin to change once Pietro (Giuseppe De Domenico), a Sicilian soldier who fled the war, comes into their life. Most in town are not welcoming of him; as one village resident says, “Only cowards run from war.” However, everyone in the family is fascinated by him. Cesare shows sympathy regarding his decision to seek a safe haven. The youngest boy is eager to play and sit on Pietro’s shoulders any chance he gets, while the eldest sister, Lucia (Martina Scrinzi), is drawn to his quiet demeanor. One little kiss between them later leads to a love story Lucia could only ever imagine in her mind, filled with love letters with hearts drawn in them (Pietro is illiterate, or “unliterate,” as one sister says) and secret visits to the barn.
Though life passes this family by, most of the film feels very low-stakes. Children come and go, but the grieving period doesn’t last for too long because the dutiful matriarch is soon pregnant with her next child. But Lucia and Pietro’s marriage brings a bit more liveliness to this story; Krichman begins to move his camera around to capture the excitement in the air on their wedding day. Once the war is over and Pietro decides to visit his family in Sicily, there’s an added element of mystery when Lucia doesn’t receive any letters from him – an unideal time, considering she’s pregnant. Once we learn why, it’s a welcome bit of drama and messiness that is needed for this otherwise muted story.
With that twist, Delpero puts all eyes on Lucia, whose story becomes much more about finding the strength to go on when it feels almost impossible. Scrinzi’s performance is quite compelling, going from a woman who has lost the will to eat, sleep, bathe, and even speak to one who decides to take charge of her life. The others call her rash and useless for throwing away her life on the first man who looked at her, and it’s so satisfying to see her emerge from all the negativity.
Though “Vermiglio” may not be everyone’s cup of tea due to its muted tone, at least Delpero sprinkles in well-needed jolts of energy with silly moments from children, a sweet love story, and a woman rising from the deep depths of despair to take charge of her life. It doesn’t leave much of a lasting impression, but Krichman’s visuals and Scrinzi’s performance earn praise.
