Martin

Sometimes it seems to me that the "users" who comment on movies here go out of their way to miss the point. The horror storyline here isn't just "vampire nonsense" nor does Romero succeed in spite of his "lowbrow intentions." The film IS a horror film, as successful in "revising" the typical vampire films as other 1970's classics like McCabe and Mrs. Miller and Point Black were in "revising" the western and gangster genres respectively. The film would hardly be as interesting if it were some kind of slick production with the usual trappings. Instead Martin is a low-key intense underplayed film that reverses the usual expectations without rejecting its genre.

I don't think Romero is somehow upholding the ideals of faith either; the religious zealot, Martin's uncle, is the least sympathetic figure in the movie, though he may be right in thinking that Martin is "nosferatu." Or his fanaticism may have created the delusion in Martin's mind, an attempt to reject the religious dogma by adopting its traditional/mythic opponent. In any case, Romero's take on faith is very complex and is as interesting in this film as his complex take on individuality and consumerism is in Dawn of the Dead.

Romero makes great use of the depressed area of Braddock Pennsylvania, the kind of down on its luck, conservative, fading neighborhood I know from my own experience. The setting is essential to the movie, but Romero doesn't overplay it. The radio talk-show angle isn't as well handled but it is interesting.

I thought this film was very impressive in its deadpan update of the vampire story and Martin is a strangely moving character. Ultimately the movie is a much more convincing dramatization of the "serial killer" figure than we get in most films now, despite the current fascination with that type. (P.S. Romero was so good in the 1970s..how did he fall to the likes of Creepshow?)

Between seminal 'zombie' flicks "Night of the Living Dead", and the follow-up, "Dawn of the Dead", George A. Romero created two of the most overlooked horror movies, not only of the 1970's, but maybe of all time. Four years after the socio-political horror of "The Crazies", he returned with "Martin", a vampire film like no other before or since.

Romero's intelligent movie turns on its head all the things associated with the genre, and presents us with a modern day story of addiction, sexuality, and obsession. Martin is your average gawky teenager, a little boy lost in a chaotic world, with an insatiable appetite for human blood. But, where previously that vampiric bloodlust is a sign of great sexual prowess, and overpowering self-importance, here it is a curse. Martin's world is one of unfulfilled desire and confusion. He is ostracised from family, with few friends - his only confidante is the faceless radio talkshow host - and our sympathies are with him throughout. His attacks are fuelled not by pleasure, but more by a fruitless search for intimacy with his victims, who aren't picked off indiscriminately by uncontrollable urges, but rather chosen. When he finally finds 'the sex thing', his need for blood is overcome. Although gruesome and calculated, his attacks aren't excessively violent, and the opening scene is perfectly written to repulse and reprieve in equal measure. What initially appears to be a brutal rape, is twisted by Romero into an almost tender love scene between attacker and victim.

With brilliant use of locations, and nondescript atmosphere, "Martin" is a horror movie that both disturbs and intrigues. The performances are erratic, and Maazel is way too OTT, spouting "Nosferatu!!" all histrionics and melodrama. But Amplas, as Martin, is genuinely affecting, and steeped in pathos. Unflinchingly original, a horror movie with gore, but plenty of brains to go with it.

"martin" is one of the most intelligent, restrained, subtle and yet effective horror films i've ever seen. romero really pulls it off with this radical variation on the traditional vampire theme. martin is a young boy who is either mentally ill or an ancient victim of that terrible disease known as vampirism, and what i love about it is that romero deliberately makes it ambiguous. most people who have seen this movie simply assume that martin's flashbacks are not flashbacks at all, but deranged fantasies or the delusions of a mentally abnormal individual. i believe this is clearly a mistake, and that either position is equally legitimate. in any case, as regards the need for blood, it does not really matter if martin is a mythical monster or a deranged sicko, since either way he takes many lives by the end of this film. he is not, however, a monster, and we even get the impression that this is a very sensitive, sweet, introverted kid who is suffering from either a pathological mental disorder or something even more ominous. remember how horrible it was being a teenager? well, don't be so quick to pity yourself;martin has to deal with all the insecurities of a young kid on top of being aware that he may be an ancient vampire, doomed to solitude and isolation by his need for the nourishment of blood and his oddly inverted disposition. this is actually one of the only successful and truly effective attempts at a blend of horror and satire that i've ever seen, although i would still be slow to encourage directors to dabble in that confused genre, since the result is usually an ineffectual, mediocre movie. the atmosphere and surreal scenes in this one are at times genuinely touching, because they reveal martin's insatiable lust for blood but at the same time cause us to feel pity for him because he has (or he believes) that he has been persecuted by the uncomprehending majority for centuries. he has an affair with a somewhat pathetic and lonely middle aged neighbor who finally seduces him successfully after many failed attempts, and this ultimately leads to his downfall in an ironic twist which should not be told to the viewer in advance, although the movie would still be more than worth watching even if he or she did know. this little known gem is also unusually substantive for a horror film, as all of romero's are, and in this one he seems to be taking shots at our ludicrous superstitions and assumption that man is the and all and be all of all things, and so believes he is attacked by supernatural evil when in reality his beliefs are absurd and entirely unfounded. a true ego deflation and a genuinely touching horror movie, "martin" is a must for lovers of film.

This is a very interesting vampire story by George A. Romero. Storytelling is completely different from the Living Dead series of the same director in which there are several different stories about the daily life of Martin that are blended so nicely with each other. Director cleverly uses some filming techniques like black-and-white flashback sequences, close-up shots and nice background musics which remind of French movies. It is a little slow-paced but the ending is impressive.

George A. Romero will always be associated with his innovative and spectacular zombie trilogy ('Night Of The Living Dead', 'Dawn Of The Dead' and 'Day Of The Dead', all classics). Dig deeper and you will find he has made several less discussed but worthy movies, including this one, quite possibly the best movie he has ever made.

'Martin' manages to be both a disturbing psychological drama and a genuine horror movie at the same time. It is complex and mult-layered enough to be read in more than one way. It's up to you, the viewer, to decide whether Martin (John Amplas, in an impressive debut) really is the vampire he claims to be or is simply deluded. It's a pity that this movie slips through the cracks. Hard core horror nuts often undervalue it because it isn't what they expect from the genre, and movie buffs who can appreciate downbeat 70s classics like Scorsese's 'Taxi Driver', and Toback's 'Fingers', will dismiss it as "just another horror movie", not realizing just how much it has in common with the aforementioned. Too bad. 'Martin' is a real gem, and highly recommended. I think it's absolutely brilliant, and a classic.