Romero's MARTIN is more than a great horror film. It's a deconstruction of the vampire mythology. Always socially-conscious, Romero sets the action in a decrypt Pittsburgh whose citizens have been jolted out of the American Dream. Shot on reversal film, the moody imagery only reinforces the kitchen-sink realism in-between the bloodletting. John Amplas as Martin is the perfect Bressonian hero. He thirsts, for love.
Romero's strongest film in the execution of a straight-faced tone is also his most developed in character. Martin is deeply eerie, unhinged, and dramatically resonating, because of the careful details of the title character's psychosis, as well as the attention it gives to the sinister method of his operation. It's not only a masterful investigation of human malice, but a tragic examination of its creation.
This is a psychological vampire film that relies more on the vampire's inner struggle then documenting a lavish lifestyle of immortality. In this film it is not glamorous to be a vampire. Romero also makes an appearance as a priest.
As much as I enjoy The 'Dead' films this might be Romero's best at least it's certainly unique that here he trims the scope of his satire down to a surprisingly intimate character study. If not his best film it's his most humanist for sure.
***1/2. After the army in THE CRAZIES, George A. Romero criticizes another pillar of the American society, the Religion, in MARTIN. The result is interesting but, in my opinion, is far from being the masterpiece praised by some hardcore Romero fans. Recommended, though.