Martin Eden

I left the cinema with a strong emotional bond with the protagonist. The story seems to surface from a documentary, with several reference to post-ww2 Italy: music, people, strip of homemade tapes. But the pace, the rhythm, the editing, is not a documentary one, it sometime remembers a music-clip. The more you sip form the environment, the more its flavour changes, because the situation changes, and so does the main actor. It is really easy to bend to its arch, and little by little you find yourself absorbed into his prospective, his vision, his twists.

... 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.

Adapted from the 1909 Jack London novel, and stylized so that it resembles one of the transgenerational epics of the Taviani brothers (My Father My Master comes to mind), the chronologically vague Martin Eden is an intriguing movie that serves as a good ambassador for the main idea behind the book (the self-made protagonist strives to promote individualism against socialism and liberalism, only to turn into another cog in the machine by the time he becomes a successful writer).

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.