Shirt Of Tomorrow - 211/365
What is drawing? How does one come to it? It is working through an invisible iron wall that seems to stand between what one feels and what one can do. How is one to get through that wall - since pounding at it is of no use? In my opinion one has to undermine that wall, filing through it steadily and patiently.
- Vincent van Gogh to his brother Theo, 22 October 1882

Martin (1977)

(article originally appeared on Mark Deniz’s
“Vampire Appreciation Month”
site
as “George Romero’s Martin: Portrait Of An Honest Vampire”)


My first exposure to George A. Romero’s Martin (1977) came via an event at the Academy Of Motion Pictures Arts & Sciences. George had been selected to give a George Pal Lecture, the Academy’s special night in which a cinematic luminary is invited to give an address on the state of fantasy/sci-fi/horror. I don’t remember a lot about that evening. I do remember being introduced to George Romero – and Adrienne Barbeau – by Bill Moseley (Bill’s intro to George was when he played brother Johnnie in Tom Savini’s 1990 Night Of The Living Dead remake). I also remember George Romero saying, in his address, how much he was influenced by Powell & Pressburger’s The Tales Of Hoffmann (1951) and repeatedly rented out a 16mm print of the film when he was a kid in NYC – except sometimes the print wasn’t available because it was being rented by another local kid named Martin Scorsese.

The one thing I most vividly recall from the evening was the clip George showed from a movie of his called Martin, a movie completely unknown to me at the time. It was the scene in which the title character – the vampire Martin – stalks a married female victim in her home and must deal with her and the unexpected arrival of her lover.

My mind was blown.

We see the traditional vampiric poses so often, they barely have any symbolic impact anymore, much less emotional or visceral impact. Onscreen, feeding on human blood has the same impact as a death by gunshot – a storytelling trope which ticks an intellectual “shocking” box in our minds without communicating any real impact or real human experience.

Martin feeds by first injecting his victims with a hypodermic, then once the victim is unconscious, opens them up with a razor blade to feed on the blood. The procedure is performed with the skill and adrenaline agitation of a hunting forest predator – with nothing romantic or sublime about it. It is at once both mechanical and savage, idiotic and fiendish.

The chaos, the madness, of the clip Romero showed us was breathtaking. The maniac bloodsucker darting around the house, wielding a hypo, alternately evading and wrestling the woman’s half-naked lover in a farce from Hell – it was absurd, and very, very real – and very frightening.

There are few movies I can think to compare Martin with. It’s as if Harmony Korine had made a vampire movie produced by David Cronenberg. Romero goes to every conceivable length to make his extraordinary vampire creation as banal and mundane as possible. He’s an unromantic 84 years old. He dresses like someone with Asperger’s. He is an unappealing, creepy person, setting aside his vampire characteristics. He lives in a miserably ordinary house with a miserably ordinary family. His vampirism seems quite normal, while the hocus pocus of religion or concepts of Good and Evil seem like the outlandish superstitions.

Martin has that riveting knife-edge freshness and immediacy that has been virtually absent from filmmaking for 20 years. Watching it, you have the unnerving sense that the storyteller is not playing by your rules, that you’ve ventured into an arena entirely unpredictable and your safety may not be the storyteller’s highest priority. The 70’s cinema – hands down the best decade for horror – completely embraced these twists and turns and breathtaking shocks, the things that can burn a film into your mind for a lifetime. Martin, The Texas Chainsaw Massacre (1974), The Exorcist (1973), Halloween (1978) – on and on – aren’t masterpieces because of their “spooky” subject matter. The very way they are told, their rhythms, structures, and turning points are calculated to give the audience a transformative experience. They are not about giving the audience what it wants, but giving it what it needs.

In today’s motion picture vampires we see beautiful merchandise, beautifully packaged and factory sealed for freshness. But there is little that is truly shocking and transcendent. Rather than the bloodsucker being a pernicious monstrosity with a story that, if studied, might make us wise, we prefer evil with a candy face, easily digestible horrors, monsters as harmless as we fantasise we are.

Martin, though a killer and a monster, is the one character who consistently tells the truth in Romero’s film. Give us back our truth-telling vampires.

Solstice Tips For Vampires

Today is the summer solstice, the longest day of the year. There are more hours of daylight today than on any other day. This phenomenon is caused by the sun’s swelling to more than seven times its normal circumference. The resulting increase in electromagnetic output naturally increases the number of hours and minutes that it is daylight we have at this particular time of our lives.

So you see it is very simple.

If you are a vampire, you may want to take extra-good care of yourself by observing some of these simple guidelines:

– Take a flask of blood to bed with you and if you feel peckish prior to sunset take sips in moderation to get you through to nightfall.
– Feed thoroughly on multiple full-hearted fresh victims the night before, this also can help to keep you from waking hungry. A shocking number of injuries occur from evening falls caused by – quite unnecessary – low blood blood sugar.
– Capture and chain up your victim near your resting place so that when you wake you can immediately “tuck in”.
– If you must leave your lair before it is fully dark, wear a hat – sombreros are surprisingly effective.
– Accept that this is a stressful time; talk with your fellows about it and don’t be afraid of admitting your own anxiety. You will find that you’re not the only one who feels that way.
– If you find the summer solstice too upsetting, consider seasonal migration. Many have found it beneficial to spend June and July in the Southern Hemisphere and the December holiday season in the far North, thus taking full advantage of the dark hours each hemisphere has to offer. One enterprising fellow we know spent a long dark winter in Antarctica posing as an ornithology student observing penguins.
– Don’t become depressed; use this time for reflection on your own immortality and when you find yourself resenting bikini-clad hotties and muscle-bound volleyball jocks bound for the beach, imagine the looks on their faces as you unsheathe your pearly fangs and descend like a vengeful wraith to suck the life from their bodies as, paralyzed, they shriek for mercy.
– Drink plenty of water.