Few horror movies have dared to be so different. This may be one of Romero's finest moments. The cinematography is brilliant and the directing is genius. This film shows Romero's creative ingenuity, unspoiled by studio interference. "Martin" is raw. It's realism is intertwined with haunting scenes of abstract flashbacks. The musical accompaniment is beautifully alluring and emotional binding. Every shot has meaning, nothing is wasted or taken for granted. This film gives us a Romero that has been lost in our modern culture based on selfishness. "Martin" should conjure strong feelings for those of us that remember the 70s and be a learning experience for those whom were not yet born. This film has certainly been overlooked by mainstream movie goers.
"Martin" is about a young man with a need for fresh human blood, similar to that of a vampire. But Martin isn't a vampire: He has no fangs, he walks in the sunlight, garlic has no effect, and has no fear of crosses. Yet, his need for blood compels him to kill. "Martin" is a one of a kind vampire film, if it can be called a vampire film at all. Doing so conjures up images of Hollywood's slick portrayal of vampires, which couldn't be further from Romero's work in this picture. "Martin" is far from Hollywood's idealistic vampire showing. Romero defies contemporary vampire conventions by steeping Martin's vampirism in realism and the harsh light of day in a dying city.
"Martin" certainly isn't for everyone. As an avid Romero film patron, this film means much more to me than a Romero novice will most likely take away from this picture. Romero does a cameo appearance as a priest, which is a must see for Romero admirers. I can see how this film might be difficult for younger film goers or for film goers that don't have a true understanding of cinematic production and creation. The cinematography is original and invigorating as it uses a dying urban backdrop to create an emotional plethora of depression, death, and hopelessness. At the same time this urban backdrop offers reconciliation and hope to even the lowest ranks of American society.
This film is simply beautiful. It is more art than film. And for those of us that can't see the special nature of this production, I recommend that you stick to Michael Bay movies. Is "Martin" a perfect film? Far from it. BUT! It's filming techniques are an excellent lesson in the art of camera placement, editing, lighting, and direction. This is a film that should be acknowledged more for what it does do than for what it does not do. And what it does do is offer us a rare glimpse into intelligent film-making at a time and place that is now lost. "Martin" is an inspiration and deserves to be at least respected by informed film-goers.
"Martin" is about a young man with a need for fresh human blood, similar to that of a vampire. But Martin isn't a vampire: He has no fangs, he walks in the sunlight, garlic has no effect, and has no fear of crosses. Yet, his need for blood compels him to kill. "Martin" is a one of a kind vampire film, if it can be called a vampire film at all. Doing so conjures up images of Hollywood's slick portrayal of vampires, which couldn't be further from Romero's work in this picture. "Martin" is far from Hollywood's idealistic vampire showing. Romero defies contemporary vampire conventions by steeping Martin's vampirism in realism and the harsh light of day in a dying city.
"Martin" certainly isn't for everyone. As an avid Romero film patron, this film means much more to me than a Romero novice will most likely take away from this picture. Romero does a cameo appearance as a priest, which is a must see for Romero admirers. I can see how this film might be difficult for younger film goers or for film goers that don't have a true understanding of cinematic production and creation. The cinematography is original and invigorating as it uses a dying urban backdrop to create an emotional plethora of depression, death, and hopelessness. At the same time this urban backdrop offers reconciliation and hope to even the lowest ranks of American society.
This film is simply beautiful. It is more art than film. And for those of us that can't see the special nature of this production, I recommend that you stick to Michael Bay movies. Is "Martin" a perfect film? Far from it. BUT! It's filming techniques are an excellent lesson in the art of camera placement, editing, lighting, and direction. This is a film that should be acknowledged more for what it does do than for what it does not do. And what it does do is offer us a rare glimpse into intelligent film-making at a time and place that is now lost. "Martin" is an inspiration and deserves to be at least respected by informed film-goers.