Martin

George A Romero's Martin (1977) is a meditative study on the titular character's theory that he is a vampire, aided by a possibly psychotic uncle, Tada Cuda, who can only think of Martin as Nosferatu. As a result, Martin prowls streetcars and neighborhoods, administering knock-out shots with a needle to those who seem to lack human purpose, drugging them so that he can then open a vein and drink their blood. While the film never explicitly answers the question of whether or not Martin is a vampire, Romero is clear in his use of black and white photography to suggest all of those old vampire serials that were big in the '30s and '40s, thereby suggesting the way in which being barraged with such imagery can psychologically influence the individual into truly believing in the "impossible." Filmed on location in Pittsburgh with little financial backing, this is obviously a labor of love for Romero.

Martin Madahas (John Amplas) is taken in by his uncle, a devout believer in the reality that half of the family is plagued with the Nosferatu curse. As such, cloves of garlic, mirrors, and crosses adorn the house, yet have little effect on Martin, as such trappings are merely storybook tales. Likewise, Martin has little effect on the ladies, having to drug them before getting them to reveal their bodies. It's a fascinating contrast, and allows Romero to deconstruct mythology from human fact, yet balance both in the character's mind.

Indeed, aided by a beautifully dirty and subjectively swaying camera that follows the action, Romero sets up a story of pathological fear in the vampire, Martin's unresolved guilt at the murders he commits, and the sociological implications of the media itself preying on the stories of a vampire in their midst. Martin often calls a radio program and confesses his deeds, yet it is clear that the DJ simply keeps Martin on the line because of the humor and ratings such tales bring with them. However, the film does take a decidedly nihilistic turn toward the end, as characters start to abandon their families, surrender to depression, and become caught in the mythology. As such, the last twenty minutes are especially solid, but the entirety of the film works beautifully as a meditation on the power of belief.

Martin: 9.5/10