George A. Romero´s Martin

Colour, 35 mm
USA, 1977, 95 min
Section: Midnight Screenings

Synopsis

Little known and rarely screened, this uniquely disturbing work provides a poignant portrait of small town alienation as well as a clever deconstruction of the genre conventions surrounding the movie vampire. Is Martin a sexually disturbed teen, or, as his superstitious cousin insists, an ancient Nosferatu? This is but one of the teasing ambiguities that Romero toys with throughout the film. Does the black-and-white footage represent Martin’s past or his media-induced fantasies? It’s another question smartly left open to interpretation. Yet, whether mythic monster or modern psychopath, Martin feels compelled to kill and drink blood. Without fangs or supernatural powers, he must rely on innate craftiness and clinical tools such as hypodermic needles and razor blades. Scenes in which he stalks his prey evoke extreme tension, relieved later by ironic humor when he confesses his cravings to a radio call-in program.

About the director

George A. Romero (b. 1939, USA) grew up in New York and attended the Carnegie-Mellon Institute in Pittsburgh, Pennsylvania. He began his career producing industrial films and television commercials. He’s one of the top names in the modern horror film, thanks to his first feature, the low-budget cult classic Night of the Living Dead (1968), and its sequels Dawn of the Dead (1978), Day of the Dead (1985) and Land of the Dead (2005). His early works, made in and around Pittsburgh, tap into the zeitgeist of social commentary. His filmography includes There’s Always Vanilla (1971), Hungry Wives (1972), The Crazies (1973), Martin (1977), Knightriders (1981), Creepshow (1982), Monkey Shines (1988), The Dark Half (1993), and Bruiser (2000).