«The camera put me some agitation, especially when I had to interpret a dialogue, but I also had a lot of fun being the actress. When I grow up, I would like to study acting and make it become a job ». «On the other hand, I didn’t like it so much months on the set without being able to run and play between one recovery and the other so as not to dirty stage clothes. My acting career? It closes here (laughs ed), because when I grow up I would like to be a shepherd ». Thus they tell their experience as actors, with innocent light -heartedness, Anna and Luis Thaler, 11 and 9 years respectively, born and raised in Vermiglio In Val di Sole in Trentino.
Brothers in life, and also in the film – such as Flavia and Tarcisio, children of Maestro Cesare – by director Bolzanina Maura Delpero. A work that is entitled Vermiglio and at the Venice Festival won the silver lion (and who won the prize for the best film at the David di Donatello, while the director Maura Delpero made the best director, and who in general in the face of 14 nominations was awarded in all 7 David ed).
The mountain is not only snow, ridges, streams, lakes, pastures. The mountain is a way of living life. One step in front of the other: «Maura knows it well whose father, who disappeared recently, was born and raised in our country and she spent many summers of her childhood here. It can be said that he began to write this script when he was a child, because it is a story that belongs to her as much as her own memories, “he says Michele Bertolini, mayor of the Borgo of 1900 souls of the Val di Sole. That adding: “The prize was a huge emotion because if the artistic vision is thanks to the director, the realization was a collective work, with at least fifty people of Vermiglio committed daily with the shooting”.
If the film is set at the end of the Second World War, All the locations chosen still exist today in the valley and “have been selected together by Maura, between our municipality and the Tonale pass, which is a fraction of Vermigliostarting from 2020 when he submitted the project for the first time and began, between the controlled enthusiasm of the mountain people and the curiosity for a film shot entirely at the foot of the Adamello massif, to make the casting among the inhabitants, “recalls Valentina Mariotti, Viccesindaca and actress in the film where she played the role of a nun.
She was also among the actors of Vermiglio who brought the Trentino valley to the Red Carpet of Venice, together with Anna, Luis and their mother, Laura, who works in a structure for the elderly of the Val di Sole: «I was almost every day on the set because it was always necessary to have an adult contact for children on the set. Although my main task was to prevent Luis from running for the meadows, since he loves to play in nature. I remember the looks of the costume designers in apprehension because he did not dirty the stage clothes, “says the mother laughing as he caresses the Tyrolean hat he wears Luis and from which he never separates” he sleeps as well, only before the Ciak took it away “. All stage objects and clothes used in the film are enhanced by the camera that alternates the wide and poignant fields of the Alpine landscapes, in the close -ups with the faces of the villagers: “All the families of Vermiglio were involved To collect clothes that belonged to previous generations and agricultural tools of once to use in filming ».
“We recovered in the old barn the peasant tools of the grandfather such as Vanghe, Badili and Roncole to work the land that were used by the director,” says Erica, mother of Melissa and Cecilia who starred in the film. Together with the family he manages the activity of the Alpine hotel, a inn that has been hosting foreigners and hikers for generations “e The same Maura Delpero who slept and ate here for the four years of processing of the film, “says Carolasister -in -law of Erica who plays a peasant in the film that dances in the marriage scene among the protagonists. “Maura gave me the gift to make me dance with my father in stage clothes, it was an indelible emotion, like that tried when we saw on TV the victory of the Prize in Venice. It was as if Vermiglio had won the World Cup ».
The care with which Delpero reconstructs the dynamics and the family lexicon that shakes the walls at the home of the country of the country at the end of the Second World War has the power and historical care of Natalia Ginzburg, but is also inspired by the dynamics still current in a country like the one in the heart of the Val di Sole: “In the film we were all friends and schoolmates as in everyday life », says little Cecilia, while her older sister Melissa adds:« It was nice to wear the clothes that were of our grandparents. The director explained to us that expression to do or that he poses holding every detail, even in the hands and face of a peasant man like me they had to be perfectly dirty and likely with the context told. It was demanding but funny».
Among these children, brothers and sisters in life as well as for script needs, affects the naturalness with which they interpreted the lifestyle of over 70 years ago, and as we have starred in the dialect of their valley. In vermiglio we can see cinematographic echoes of the Impocoli di Ermanno Olmi’s tree, with which it shares the choice to be recited in dialect, to obtain a poetic, but not sentimental realism, in which the essentiality of the scenes is enriched by the spontaneity of this gesture as the little Anna, Luis, Cecilia and Melissa confirm: «Out of school, with friends and with parents we talk in dialect. Therefore using it in the film as per the indications of the script, was immediate ».
Photo by: Daniele Lira, Luca Cereda and Agencies
