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Martin -
George A. Romero (R.I.P.) proved himself to be an expert on zombies, but are you aware he knew a thing or two about vampires as well? His subject in the movie of the same name is one, with his methods being a little different than Dracula's: he drugs his targets, who are usually women, to make them unconscious, and he sometimes has his way with them before drinking their blood. Then again, is Martin really a vampire? Is his persona just a consequence of living in a Rust Belt town rife with economic and social decay or the delusions and accusations of his old, religious cousin? That's for you to find out in this grim, disturbing, and historically significant psychological horror film that's one of Romero's best.
For the ways the writer/director makes you wonder if the mystery of Martin lies in the equally life-sucking existence in his decrepit suburb, Romero, like he does in his Dead movies, proves he's also an expert on the dark side of capitalism. If it's not the repeated footage of the town's apparent top industry, car compacting, it's proof that its seedy side is its only side or that the family unit is in decay as indicated by too many housewives coping with their husbands being "away on business." As for Martin's relationship with Cuda, his cousin and reluctant guardian, it proves that contentious generation gaps like the one between boomers and millennials are nothing new. Does his strong Eastern European accent, values and superstitions that make him seem like a time traveler from ancient Carpathia explain Martin's condition? Well, it does explain why the town is inhospitable to the young as his equally strained relationship with constantly one-foot-out-the-door granddaughter indicates. This movie is not just a portrait of late '70s strife, mind you: it's horror through and through, with the scenes where Martin preys on his victims being so raw and uncompromising in their bloodletting and nudity, it's a surprise it wasn't rated X. It's a stylish movie at that, whether it's the “indie” editing, handheld cinematography or the black and white, classic-horror adjacent footage showing how Martin's feeding frenzies play in his head. It's no wonder Romero rewrote the movie to be about a young man instead of a senior citizen after seeing John Amplas act because his performance puts Martin on my list of favorite cinematic misunderstood loners. It's also nice to see Lincoln Maazel, who plays Cuda, since I very much liked him in The Amusement Park, and if you pay attention, you'll spot horror legend Tom Savini in a small role.
Since I love vampire stories, the theme of nature vs. nurture, all things '70s and of course Romero, this movie checks a lot of boxes for me. As for the latter, it was exciting to see such a different kind of movie by him, and even though Romero is deservedly known as a zombie guy, he deserves to be lauded for work like this as well. As a Pittsburgh resident, he knew as well as anyone that few situations are more dire, especially for young adults, than being stuck in a place with little to no prospects or healthy appeals. As guys like Martin indicate, there are consequences when the generations who could do something about it are keener on putting down their descendants than raising them up.
George A. Romero (R.I.P.) proved himself to be an expert on zombies, but are you aware he knew a thing or two about vampires as well? His subject in the movie of the same name is one, with his methods being a little different than Dracula's: he drugs his targets, who are usually women, to make them unconscious, and he sometimes has his way with them before drinking their blood. Then again, is Martin really a vampire? Is his persona just a consequence of living in a Rust Belt town rife with economic and social decay or the delusions and accusations of his old, religious cousin? That's for you to find out in this grim, disturbing, and historically significant psychological horror film that's one of Romero's best.
For the ways the writer/director makes you wonder if the mystery of Martin lies in the equally life-sucking existence in his decrepit suburb, Romero, like he does in his Dead movies, proves he's also an expert on the dark side of capitalism. If it's not the repeated footage of the town's apparent top industry, car compacting, it's proof that its seedy side is its only side or that the family unit is in decay as indicated by too many housewives coping with their husbands being "away on business." As for Martin's relationship with Cuda, his cousin and reluctant guardian, it proves that contentious generation gaps like the one between boomers and millennials are nothing new. Does his strong Eastern European accent, values and superstitions that make him seem like a time traveler from ancient Carpathia explain Martin's condition? Well, it does explain why the town is inhospitable to the young as his equally strained relationship with constantly one-foot-out-the-door granddaughter indicates. This movie is not just a portrait of late '70s strife, mind you: it's horror through and through, with the scenes where Martin preys on his victims being so raw and uncompromising in their bloodletting and nudity, it's a surprise it wasn't rated X. It's a stylish movie at that, whether it's the “indie” editing, handheld cinematography or the black and white, classic-horror adjacent footage showing how Martin's feeding frenzies play in his head. It's no wonder Romero rewrote the movie to be about a young man instead of a senior citizen after seeing John Amplas act because his performance puts Martin on my list of favorite cinematic misunderstood loners. It's also nice to see Lincoln Maazel, who plays Cuda, since I very much liked him in The Amusement Park, and if you pay attention, you'll spot horror legend Tom Savini in a small role.
Since I love vampire stories, the theme of nature vs. nurture, all things '70s and of course Romero, this movie checks a lot of boxes for me. As for the latter, it was exciting to see such a different kind of movie by him, and even though Romero is deservedly known as a zombie guy, he deserves to be lauded for work like this as well. As a Pittsburgh resident, he knew as well as anyone that few situations are more dire, especially for young adults, than being stuck in a place with little to no prospects or healthy appeals. As guys like Martin indicate, there are consequences when the generations who could do something about it are keener on putting down their descendants than raising them up.