Martin Eden

I am at a disadvantage not having read Jack London's book. Therefore, I do not know if the credit for the end sequence should be attributed to London or to the film's co-scriptwriters--Maurizio Braucci and director Pietro Marcello. Because that end-sequence is absolutely well developed and unforgettable. The choice of music (Bach and Debussy) and the performances of two male actors--Luca Marinelli and Carlo Cecchi--are the mainstay of this film. The Venice (Best Actor), Toronto (Platform Prize), Ghent (Best Direction), Faro Island (Best Adapted Screenplay Award) international film festivals have spotted the golden veins of the film.

I admired my Italian ancestors' cornering the neorealism market with such classics as Vittorio De Sica's The Bicycle Thief (1948). Now going nose to nose with those masters is director Pietro Marcello's neo-neorealist Martin Eden, frame for frame a joy in brilliant cinematography that combines color and black and white, but most importantly tells of a mid-twentieth century lusty young Italian sailor, Martin (Luca Marinelli, handsomer than all of us) with aspirations to write.

Marcello and screenwriter Maurizio Braucci have adapted Jack London's 1909 story in his robust, populist way to show the proletariat's struggles with the privileged to become educated and accomplished. Placing ambitious Martin in mid-twentieth century allows him to rant against the weaknesses of socialism and collectivism to favor evolutionary individualism.

As in the case of struggling artists everywhere with no formal education and a populace demeaning rugged individualism, Martin's journey to becoming a famous writer begins with patronage of the very class he rails against in his stories. Ironically, the education he lacks can be offered by his lover, Elena (Jessica Cressy), from the upper class. She demands he be a provider and get thoroughly educated. Easy for her to say.

The strength of this story is Martin's belief in his talent and persistence in the face of prejudice against his impoverished background. That Martin becomes more famous for his belief in the individualism of Herbert Spencer's social Darwinism is another block to attaining the respect as a writer he believes he's due.

Martin Eden is luscious with contentious social history and struggles of an artist who rises above his limitations not without the pain and loss that accompany ambition and art. The acting is as realistic as neorealism can allow when actors, not amateurs, play the parts. Actor Marinelli is up to the challenge: While remaining matinee idol in looks, he translates the burden of artistry in troubled times, or any time actually. Martin Eden is a classy European, neorealist experience. Learn about artistry, history, and human dignity.

It was a good, interesting film throughout. But it kind of lost me in the last half hour. I can't give it a wholehearted recommendation.

IN BRIEF: A pretentious artistic approach undercuts a strong story.

JIM'S REVIEW: (MILDLY RECOMMENDED) Martin Eden is an artistic muddle of style over substance. Loosely based on Jack London's semi-autobiographical novel, Martin Eden told the story of working class struggles and oppression set in the early 1900's. Director Pietro Marcello has taken that novel and transported that story in place and time: The title character now lives in Italy, although the time frame is purposely confusing. It seems to take place somewhere in the mid-20th century, although the anachronistic fashions and technological devices collide frequently to raise some doubt.

Plot details remain the same as Mr. Marcello follows the same basis premise of the book. A working class man searches for a better life. Doing menial jobs, he yearns for a better education and wants to become a published writer. Martin's ultimate goal is important to him, as he has fallen in love with a rich and pampered upper-class girl from a strictly bourgeois family. Martin meets other figures that spur him into action during his class struggle for success, with tirades against socio-economical injustice and protests about socialism, democracy, unions, and the rights of individuals being freely bantered about throughout the film.

We follow Martin's journey with high interest and remain captivated by the film despite constant cross-cutting of archival footage that adds atmosphere and further confusion. The handling of these jarring images is innovative yet infuriating as it addles the moviegoing audience. Mr. Marcello's vision upends the essential storytelling and overcomplicates his movie with these flourishes. (At one point, I wondered if these cinematic intrusions were a political statement of society's ills, Martin's actual written stories brought to life, or just heavy-handled historical documentations from that century...I still don't know. What I do know is that the overall effect remains jarring and undercuts the narrative.)

Through 2/3 of the film, this reviewer was intrigued with Mr. Marcello's bold approach to the material despite the aforementioned major flaws in his execution. But the last third of the film makes absolutely no sense. Leaps of logic are everywhere. Once the ship literally sinks (and it does), the story bounces ahead to an entirely different Martin, one with dyed blonde shoulder-length hair and rotting front teeth who is cynical about life but still rants against the inequities of wealth and power. The final shot negates everything before it. (Again I wondered if I skipped a reel or two due to the lack of continuity.)

The cast is uniformly strong, especially Luca Marinelli in the title role. His 50's matinee idol good looks create a likable hero and the actor is excellent in his well-defined role. Jessica Cressey makes an attractive love interest, although their relationship is predictable in its conclusion. Adding fine support in their supporting roles are Carmen Pommella and Carlo Cecchi.

All in all, Martin Eden is too artsy for its own good. It forgets its own working class roots. Less artistic license would have delivered a stronger film. Ostentatiousness reigns. When style overrides the story, one questions its real purpose. The film puts on airs that only the bourgeois could love. Martin would have railed against it. (GRADE: C+)

... in which we are born and moulded without recourse or consultation - as we get older, others may influence and change our direction, sow new seeds, broaden horizons, gouge new scars. We may even become better for it but occasionally we may not and more often than not, we won't even know how we got here.