George A. Romero is best known for his landmark zombie films such as NIGHT OF THE LIVING DEAD and DAWN OF THE DEAD. In MARTIN, the master of horror tackles vampires in an original and fascinating way.
We first meet Martin Madahas (John Amplas, DAY OF THE DEAD) as he rides the train — where he methodically sneaks into a woman’s sleeping car, drugs her, unclothes her, slits her wrists, drinks her blood then stages the scene to look like a suicide. Arriving at his stop, Martin meets his older cousin Tada Cuda (Lincoln Maazel, only film performance), who calls the teenager a nosferatu (or vampire) and promises to save his soul then kill him. Martin goes to stay with the superstitious Cuda and his granddaughter Christina (Christine Forrest, CREEPSHOW), who doesn’t believe like her grandfather that Martin is descended from a long line of vampires in the family, but in reality needs mental help not an exorcism.
If he is a vampire, Martin is not a traditional one. Crosses and garlic do nothing. He has no fangs or superpowers. He claims that the sun hurts his eyes, but he can go out in the daytime like any other human. The only vampire tendencies he displays is an insatiable need to drink blood and the claim that he is 84 years old, which is alluded to in black & white flashbacks, but never confirmed as fact.
This ambiguity on whether Martin is really a vampire or just a disturbed teen makes the film compelling. Like many teens, Martin feels misunderstood and isn’t finding support from his family. He lashes out violently (abate in a very bizarre and deadly fashion). He eventually finds some solace in a lonely married woman named Mrs. Santini (Elyane Nadeau).
Mixing in humor at times, Romero presents the detailed observation of Martin’s action like Hitchcock would. This style is quite similar to the style of Italian giallo master Dario Argento, who collaborated with Romero on DAWN OF THE DEAD.
Amplas was a perfect casting choice for Martin, presenting the character with a strangely intense shyness that is quite creepy. Mainly the film is a character study of Martin and his emotional difficulties growing up believing he is a vampire. In addition to Amplas, Maazel captures the proper notes as a zealot that the film needs. The ending is shocking, mainly due to its abruptness. The sad tale of alienation and neglect is captivating in how it takes the conventions of the vampire genre, throws them out and presents a “vampire” tale in a new, more real world fashion.
Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks
