DVD Review: Martin
Martin (1976)
Distributor: Arrow (Region 0 DVD)
Directed by: George A. Romero
Starring: John Amplas, Lincoln Maazel, Christine Forrest, Elyane Nadeau, Tom Savini
Review by: Ben Bussey
A young man gets off the train in a small, run-down part of Pittsburgh. Looking to be not even twenty years old, thin, hair in his eyes; he seems a little shy and awkward, but otherwise ordinary enough. But then he meets with a far older man with an austere manner, clad entirely in white, who begins to call the young man “Nosferatu” the moment they’re behind closed doors. Not that this is too surprising when (unless you’re watching the Italian cut) a few minutes earlier we’ve witnessed the young man stalk a fellow passenger, sneak into her cabin and struggle with her before finally incapacitating her with a soporific injection, stripping her naked, cutting her wrist with a razor blade, and drinking her blood. But is Martin really an 85 year old vampire, or is he simply a troubled young man driven to madness by family superstition?
Romero has declared this film his finest work, and it’s not hard to see why. Boasting superb performances (in particular John Amplas in the lead), plus a sharp script and simple but atmospheric visuals and soundtrack, Martin is without doubt one of the more unique vampire films ever made. Intimate and character-based, it’s more interested in getting under the skin of the characters than crafting an especially complex story. Considering it was 1976, and Hammer Films had not long since made their final gothic undead melodramas, this must surely be one of the first vampire films to disavow the religious elements of the mythology. Indeed, given how Martin often talks about how the movies get things wrong (plus the black and white flashback scenes that echo the early German expressionist silent horror movies, and a sequence in which Martin mockingly dons a full Count Dracula Halloween costume), we might take this as one of the original postmodern deconstructionist horror films, a good two decades before Scream got in on the game. Martin flatly dismisses most of the legends, repeatedly insisting “there’s no real magic.” Impervious to sunlight, garlic and Christian iconography, and lacking the fabled abilities to mesmerise, metamorphose or even sprout fangs, Martin’s only concessions to vampiric lore are the big two: eternal youth, and the need to feed on human blood.
Assuming, that is, that we accept he is indeed “Nosferatu”. (And Lincoln Maazel sure does say that word effectively. Seriously, I can’t think “Nosferatu” without hearing his voice now.) To the film’s considerable benefit, it is never made entirely clear whether Martin is – as seems most likely – mentally ill, believing himself a vampire due to a lifetime of being told he was by his backwards relatives, or if he truly does need blood to survive. The film dwells heavily on the nature of belief, contrasting Maazel’s literalist take on the demonic with the notable indifference of the local clergy (including Romero himself in a respectable cameo as a priest more interested in food and drink than talk of the supernatural). And as no vampire tale is complete without it, there’s a great deal of the sexual at work too: pathologically shy, Martin seems only capable of getting close to women he is attracted to by stalking, attacking and killing them, always making a point of stripping naked both himself and his victim before the final act of bloodletting. Is the “need” for blood simply an erotic fixation, then? Again, that’s left up to the viewer.
One of Romero’s greatest talents has always been to present thematically complex work layered in subtext, but which can still be enjoyed when taken on face value as simple horror entertainment. This is certainly true of Martin. While not heavy on gore or action (although it’s the first appearance in a Romero film of Tom 
Savini, as actor, stuntman and make-up FX artist), the murder scenes are very well-staged and chilling to watch. Perhaps one of the few flaws of the film is the way it stumbles into somewhat predictable cat-and-mouse territory in the final scenes, plus the surprisingly sudden ending that follows; yet at the same time all that transpires feels entirely appropriate, and it’s hard to see the story ending any other way.
All in all this a truly great movie from one of the greatest horror filmmakers, and as such this “Immortal Edition” from Arrow is really quite a treat. Over the two discs there are three alternate forms of the movie to watch – Romero’s cut in both 16:9 and 4:3 (the correct aspect ratio as the film was shot on 16mm, as I understand it – although in that format the sound was out of sync on my preview copy, which I can but hope has been fixed for the wider release), plus the Italian cut of the movie. It’s this latter version, retitled Wampyr, which offers the most curiosity value: overseen by Dario Argento and co, it’s significantly re-edited and replaces Donald Rubinstein’s understated score with a considerably more boisterous one from Goblin. The result is, to say the least, a very different viewing experience from Romero’s film, and stands as proof positive of how much difference a soundtrack and a few editorial decisions can make. Also, as we’ve come to expect from Arrow, there’s a supplemental booklet, free poster, and alternate covers. Despite the problems with the 4:3 version, this is a very pleasing edition indeed. And so, in case you need it spelling out for you, Martin: The Immortal Edition comes highly recommended.
Original Theatrical Trailer:
