Ninfa plebea

The "nymph" in this story is the daughter of a prostitute and while I didn't find this particularly offensive, the whole idea of EVERYONE around the girl touching, talking about and staring at the girl's genitalia certainly did. I have no idea how old this girl actually was (physically, she looked about 13 or 14), but seeing her completely naked was very disconcerting--so much so that I turned off the film midway through it. Now I am sure that many out there might find my attitudes very "bourgeoise" and old fashioned (there's a lot of truth to this), but I also used to be a psychotherapist specializing in working with sexual abuse victims. In light of this, seeing an underage girl being this sexualized just seemed very inappropriate and sick. Now this ISN'T to say that the topic is a problem--just the way it was handled--there is definitely something to be said about a little discretion. My complaints aren't just a slam against director Lina Wertmüller's leftist bent (after all, I loved many of her other films). From what I saw, the film seemed pretty well made, but also excessively crass and disturbing. I just can't recommend it.

Another thought-provoking film by Lina Wertmuller, The story and cinematography is what we have come to expect from Wertmuller's films, beautiful even during the turmoil of war. Italian with English subtitles. The Nymph follows a young girl's difficult passage into womanhood in World War II Italy. Miluzza experiences the love of family, and lust of soldiers and local men who are enchanted by her youth and beauty. Set in a very poor small village, the jealousy and judgment of others weighs heavily on the young Miluzza since her mother, Nunziata, is seen as a loose woman. Wertmuller draws the viewer to Miluzza's side as her innocence is tragically lost. She wonders at one point, "Why is everyone so evil to me?". There are some disturbing images of abuse and rape, but the overall message of this film is of hope and redemption. Miluzza's beautiful spirit triumphs after she helps a wounded Italian soldier return home after he stumbles into her life. Her demure beauty, feminine strength and goodness win over everyone in the end. Highly recommended for foreign film buffs.

This movie shows the social dilemma of an abused girl, showing how easily she is victimized, how unaware she is, and how society gives her little chance to escape her role. It does not overplay her role as a victim, and it condemns no individual, only society.

I began viewing this with trepidation as I'd read a review previously and it sounded if would be a doom and gloom sort of film from beginning to end. While there were dark moments which resulted from the natural course of events during the film, I found the characters to be rich and enjoyable and ones you could really care for. Lucia Cara who played Miluzza was a delight and one could easily fall in love with her and her character. She's a beauty who sparkles. In fact, she IS the film as far as I'm concerned. Apparently she has been in only one other film which I have not yet seen but hopefully there will be many more future films with her in them.

My estimation of this movie puts it ahead of Somewhere in Time, The English Patient and a host of other quality romance films. For you who are cloistered in your views of the human form, human contact and sexuality - you may be offended by how frank and casual this film deals with its protagonist. If you are willing to step outside of your cultural context and explore what life may have been like in an early 20th century rural Italian village, please do watch this film. I cannot praise it enough.

The innocence and gentleness of Miluzza strains the heart as you watch her progression through the story arc. Men are lured in by her sculpted body but disarmed by her smile. And then there's her eyes - sadness and joy flash lightning quick. The style of acting is so natural - I wish the studios would take notice. This film lacks the artifice of so many "dramatic" films. It doesn't need a multi-million dollar film score to move you. It doesn't require dramatic lighting and innovative camera angles to tell you that you're supposed to be feeling something.

Students of cinema and drama should take note at the art of subtlety and restraint this film manifests so effortlessly.