As a cinephile with a penchant for the macabre and a deep appreciation for the pioneers of horror cinema, I must say that George A. Romero‘s “Martin” is a cinematic gem that deserves far more recognition than it has received thus far. The film, though made on a shoestring budget, was a trailblazer in its own right, setting the stage for the ’80s vampire renaissance and challenging the conventional portrayal of these mythical beings.
Heads up: Some plot details from George A. Romero’s 1977 film “Martin” may be considered spoilers for those who haven’t seen it yet.
Amidst the grand spectacle and witty humor of the zombie trilogy’s second installment, there was a lesser-known film titled “Martin” that slipped under the radar. This film wasn’t a big-idea production; it actually began production as a lucky byproduct when George A. Romero was embroiled in negotiations to finance a sequel to his most successful movie so far, “Night of the Living Dead“. Unable to gather the funds for the epic sequel he believed the material deserved, Romero, showing great ingenuity, decided to postpone the zombie sequel and instead used the limited funds at hand to create a more intimate, chilling tale about a teenage voyeur who believes himself to be Dracula.
Among the cast members, Tom Savini stands out as the most prominent figure, transitioning from special effects work to acting in horror films and eventually directing. Notably, this was the initial partnership between Romero and Savini, making the movie significant in the horror genre for various reasons. This film not only kick-started Savini’s career but also presented a more intellectual, realistic storyline centered around a tragic hero battling fear and guilt. Unlike many other directors, Romero drew inspiration from his everyday surroundings, aiming to depict a setting as dreary as a Transylvanian castle – in this case, the suburbs of Pennsylvania during the 1970s.
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To truly understand how Martin defied the typical cinematic vampire tropes, let’s journey back to the movies that graced our screens from the 1920s to the 1960s. During this period, a few unique vampire films emerged, but Vincent Price’s The Last Man on Earth, while categorized as a vampire film, seems more like a zombie movie in essence. Universal Studios gave it a go with Dracula, but lacking fresh ideas, the portrayal soon became ripe for parody, with Abbott and Costello, as well as Roman Polanski, joining the fun by poking fun at the character of Dracula.
Regardless of your fondness for Christopher Lee or his Hammer Horror films, the vampire genre in the early seventies was rather lackluster. It was dull, repetitive, cheesy, and outdated, with only a few exceptions like the “blaxploitation” movie Blacula and some low-budget lesbian-themed films grabbing attention. In 1977, it was clear that no one was treating the vampire mythology seriously – everyone except for Romero. His challenge turned out to be a blessing as he had to work with the constraints of a micro-budget, which ultimately led to his groundbreaking work.
Martin deviated from the typical vampire narrative. Although it included elements to help viewers follow the story, according to the actor portraying the main character, these were more of an afterthought. Romero didn’t want to create another dull adaptation of Bram Stoker. Instead, he drew inspiration from the gray urban landscapes of America’s Rust Belt and the disillusioned youth wandering through these desolate, decaying industrial areas.
George A. Romero’s Kinder, Gentler Dracula?
In the 1970s, George A. Romero breathed new life into the zombie genre (a playful nod to the term), but his subsequent films didn’t quite resonate with fans as deeply as his classic, Night of the Living Dead. However, things were about to shift. Romero received assistance from fellow horror enthusiast from Pittsburgh, Tom Savini – a talented special effects artist who also harbored a passion for acting. Remarkably, Savini was willing to work for minimal pay. Recognizing his potential, Romero gave him a chance, and this decision would significantly impact the course of their respective careers.
In the end, choosing the unestablished local actor John Amplas for the main role turned out to be crucial. The setting was the struggling steel town of Braddock, PA, a place that bore the marks of decay and gloom, resembling a hauntingly Gothic American community with its own unique abandoned remnants. Director George A. Romero remarked, “The feeling of the American Dream disintegrating was palpable,” as noted by film historian Bartłomiej Paszylk. Given that it lacked star power and elaborate sets, the movie relied on its script, dark humor, and eerie ambiance to make an impact.
In my perspective, one of the primary challenges Romero faced in shaping the film was the enigmatic presence of vampire lore and the true nature of our protagonist. Initially, the script followed a straightforward comedic route, another take on a parody. However, upon careful reconsideration, Romero altered his screenplay. Although there are some vague flashbacks suggesting Martin Mathias is an immortal vampire, Romero and Amplas chose to present the narrative most effectively as a troubled teenager obsessed with vampires, manipulated by his superstitious family.
During a conversation about the character from “Reel Terror,” Amplas shared that he developed his own background story for the role to avoid a formulaic portrayal.
In the scenario where I found myself drawing upon my own background since I was raised apart from my biological parents, I could relate to certain aspects portrayed in the movie. The recurring scenes might have been recollections of his past existence, yet I suspect they were more likely figments of his imagination instead.
The character Count Dracula exhibits a sophisticated yet terrifying demeanor, preying on his victims. Conversely, Count Orlok from Nosferatu was a grotesque entity of nature. Martin, our antagonist, is a socially awkward teenager living in the suburbs who resorts to using needles to incapacitate his victims. Our protagonist, though creepy and reprehensible in his own right, was intentionally portrayed as the ordinary neighbor by Romero, creating an entirely different impact compared to Christopher Lee’s portrayal of Dracula in a cape. The movie can be seen as both a horror flick and a teen drama, potentially setting the stage for the emergence of the angst-ridden teen horror subgenre.
Inaugurating the ’80s Vampire Renaissance
This low-budget movie, produced for just $100,000 (which was minimal, even by 70s standards), was shot on 16mm film and marked the beginning of a series of stories. Coincidentally, Anne Rice’s book “Interview with the Vampire” was published around the same time this film was being made. If not for its graphic scenes of violence and delinquency, the movie could have been mistaken for an art-house production. The main theme revolved around Martin’s struggle with identity, loneliness, and his inability to conform to society. However, the explicit scenes of voyeurism and abundant use of fake blood earned it the label of a “video nasty,” resulting in its ban in the UK. It was not alone in this categorization.
In the ’80s, movies like “The Hunger”, “Near Dark”, “The Lost Boys”, “Vampire’s Kiss”, and “Fright Night” were redefining the concept of vampires, and are now recognized as precious treasures in their own right. A closer look at the contemporary collection of vampire stories reveals that Romero, and by extension Amplas, should be acknowledged for turning the traditional vampire narrative upside down. Romero, above all others, reshaped vampires from typical, one-dimensional antagonists into compelling tragic heroes.
Before gaining much attention or significance, the Pittsburgh project was mostly overlooked by both audiences and critics, except for a small group of devoted fans and critics. Amidst pressure to produce another successful zombie film, it’s fortunate that Romero found a distraction instead. Had he secured the necessary funding, this movie wouldn’t have been made. Currently, Martin is available to watch for free on Tubi.
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2024-10-09 01:32