‘Battleground’ Review: The Cure is Often Worse Than the Disease in a Turgid WWI Medical Drama

As a seasoned film critic who’s seen more than my fair share of war films, I must say that “Battleground” left me feeling like a soldier returning from the trenches – battered, bewildered, and desperately wishing for some respite. This Italian production, directed by Gianni Amelio, promises to delve into the grim realities of World War I, but instead delivers a disjointed, sluggish drama that left me yearning for the action-packed excitement of a silent film.

1918, as a title suggests, was referred to as “the year of victory” in Italy. However, Gianni Amelio’s film “Battleground,” set during WWI, presents a stark contrast to this notion. Instead of triumph, the opening scenes depict a grim reality: a heap of bloodied soldiers’ bodies glistening under the moonlight, a scavenger rummaging through the deceased, and a survivor, writhing in shellshock, too traumatized to look up. The irony is palpable as everything in this somber drama carries a heavy weight: the skies, the atmosphere, the deliberate camera movements of Luan Amelio Ujkaj’s cinematography. Although the year ended with victory, for the Italian soldiers on the frontlines and the civilian population enduring loss and wartime hardship, most of 1918 was marked by despair rather than triumph.

The somber atmosphere pervading this narrative – clearly reflected by the slow tempo and fragmented narrative structure of “Battleground” – is profoundly felt by Stefano (Gabriele Montesi) and his long-time friend and medical colleague Giulio (Alessandro Borghi), as they traverse the sanitized corridors of a bustling military hospital in Northern Italy. Despite their contrasting perspectives on the ethical implications of their Hippocratic oaths during wartime, these two share an unspoken yet deep connection. Stefano, rigid, suppressive but intensely conscious of his patriotic obligations and contemptuous of those he perceives as shirkers evading further combat by feigning injury, is eager to expedite recoveries or declare patients fit for duty, even if it means sending them back to the battlefield prematurely. Conversely, Giulio, rigid, suppressive but painfully aware of the hypocrisy in sending young men to almost certain deaths when he himself has avoided such a fate, finds himself growing more sympathetic towards his patients and advocating for their discharge. In some instances, this means intentionally injuring them or deliberately worsening their conditions, with their consent, so they can return home sooner.

Without Stefano’s knowledge, Giulio has secretly established a makeshift surgery in his small laboratory upstairs, which he claims is for his ongoing bacterial research. During off-hours and amidst handling petri dishes and microscopes, he clandestinely treats a steady flow of thankful yet war-weary patients by infecting them with venereal diseases that lead to hearing loss or performing unnecessary amputations. The diverse range of ailments presented in this setting is striking, particularly the impressive prosthetics developed as a result. The technical advancement may even stem from the makeup department’s skillful creation of realistic, grotesque effects such as oozing sores, infected eyes, and gangrenous wounds covered in clotting, tattered bandages.

Occasionally, Giulio carries out his questionable profession with a chilling indifference that suggests a more captivating movie and character could have emerged. Yet, the film directed by Amelio, co-written by him and Alberto Taraglio, and inspired by a popular Italian novel, chooses to focus on a surprisingly shallow romantic subplot instead of delving into the complex moral dilemmas faced by a doctor who inadvertently makes his patients sicker. This character, who may even find professional fascination in this predicament, could have provided rich and troubling dramatic material.

As a passionate cinephile, I find myself drawn into the narrative of a film where Federica Rosellini’s character, Anna (a nurse), makes her entrance at the clinic. Anna, who studied alongside Giulio and Stefano at the same university, had a promising medical career that was hindered by institutional sexism. Her demeanor is as stern and reserved as her male counterparts, oscillating between stern disapproval and quiet dismay. The chemistry between them is so faint it’s challenging to discern which of the men might catch Anna’s frosty affections.

This narrative offers a realistic portrayal of a wartime clinic, with intricate details and an atmosphere that’s both sterile and sickly. However, it falls short in several areas. The scenes lack cohesion, the characters are underdeveloped, and there seems to be missing subplots. It’s like watching a movie where important parts have been cut out, leaving behind a persistent sense of unease or unfinished business. Despite being set during a critical period, the story often feels anticlimactic, making it difficult for the audience to fully engage with the suffering, conflict, and devastation portrayed. In simpler terms, “Battleground” struggles to keep pace with the intensity of its historical context.

2024-08-31 20:16

‘Battleground’ Review: The Cure is Often Worse Than the Disease in a Turgid WWI Medical Drama

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