Why George Romero’s ‘Martin’ is a Hidden Gem in Horror Cinema!

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#5 in my ranking of George A. Romero’s filmography.

According to reports, George Romero particularly enjoyed the film Martin, which deviated more towards the atmospheric and character-driven Season of the Witch compared to the action-packed Dawn of the Dead. It’s clear that Romero found his passion in creating dramas centered around characters, seamlessly blending reality with horror elements. He also mentioned that his earlier works were more a reflection of their times rather than intentional social commentary, despite popular belief. As such, Martin provides an intriguing perspective on the life of a young man, who believes he’s a vampire but may simply be an awkward adolescent struggling to connect with others.

In the central role, John Amplas’ character, Martin, boards a train bound for Braddock, Pennsylvania. Upon arrival, he attempts, unsuccessfully, to murder a woman, inflicting a wound with a razor blade and drinking her blood. His arrival is met by his elderly cousin, Tateh Cuda (Lincoln Maazel), who suspects Martin of being a vampire, brandishing garlic and crucifixes in an attempt to ward him off. However, these traditional protective measures prove ineffective on Martin as he claims there’s no mystical power behind them. Despite appearing to be 15 years old, he maintains that he is actually 84. This portrayal bears a striking resemblance to Joan in the film Season of the Witch, who practices witchcraft while acknowledging its lack of genuine magic, yet still derives some benefit from it.

In the movie, Cuda possesses a daughter named Christina (Christine Forrest). Traditionally, she’s meant to avoid Martin due to his vampire nature, but her open and friendly demeanor contradicts this expectation. Christina symbolizes the contrast between traditional values and modern approaches in the film, with Cuda representing the rigid old ways that are hostile towards Martin for being a vampire, even going as far as planning to save Martin’s soul before executing him if he doesn’t slip up (should Martin behave badly during this process, Cuda will simply kill him without redemption). The reason I don’t share Romero’s high regard for the movie is that I struggle to see how Christina’s character ties into Martin’s journey. It feels like an unconnected idea. Originally, the film was almost three hours long and may have had more elements to establish this connection, but there’s no sign of that extended version being released.

Martin, persistently arguing both to himself and a late-night radio host about his authenticity and intentions, struggles to identify his next target after Abbie (Elayne Nadeau), a solitary housewife, begins showing kindness towards him at Cuda’s. He makes an attempt with another housewife (Sara Venable) who has an unexpected lover (Roger Caine). This leads to another prolonged attempt at murder as he seems unsure of the correct dosage for his sedatives, particularly when confronted by a larger, more robust man that he must physically overpower. Remarkably, in this instance, Martin feeds on the man rather than the woman, suggesting some level of sexual ambiguity within Martin’s character that the film only subtly hints at.

Martin’s feeding habits diminish significantly once he becomes intimate with Abbie, indicating a possible withdrawal from the situation. Yet, Cuda persists in keeping Martin around, causing tension between him and Christina. An intriguing moment occurs when Cuda invites the new Catholic priest (Romero) for dinner, attempting to win his support for upholding traditional methods in dealing with vampires, though his intentions are subtly disguised.

Essentially, it’s quite intriguing with various elements intertwined. I can’t help but feel disappointed that we don’t have access to a longer version because at the moment, many parts seem only loosely related thematically, and the main theme isn’t fully realized. It’s a more expansive take on “Season of the Witch“, which necessitated trimming multiple subplots that shared some underlying connection, thus making the film’s underlying message less distinct than it could have been.

Yet, this narrative revolves around a youthful character’s tumultuous journey, as he lashes out in anger until maturity sets in. The story concludes with a clever twist: he is accused of something he didn’t commit. This works exceptionally well, balancing empathy for the troubled protagonist with a cynical perspective that echoes Romero’s distinctive style.

Indeed, it’s quite commendable. I believe the extended version might be more satisfying. George Romero demonstrates that he hasn’t lost his knack for filmmaking despite facing funding difficulties for several years, accumulating substantial debt (allegedly a million dollars at the time). It may not be an undiscovered gem, but it’s competent and effectively low-budget.

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2025-03-03 00:15