In some ways, “Martin” is a vampire movie that is not actually about vampires. Nobody within the movie is truly thirsty for blood within the true, Hollywood sense of the phrase. Martin’s aged cousin Tateh Cuda does consider his household is affected by a vampiric curse that has been handed down from era to era, however the film virtually goes so far as to make enjoyable of typical vampire lore and Cuda’s reliance on it. When Cuda tries to manage Martin — whom he refers to as “Nosferatu” — his cloves of garlic and plethora of crosses do nothing to hurt or dissuade Martin from doing no matter he pleases. Often, Martin experiences flashbacks (or hallucinations) to a time interval when he actually was a vampire and his cousin was making an attempt to kill him, however these scenes should not examples of actual life. In the actual world, Martin tells Cuda that “issues solely appear to be magic. There isn’t a actual magic. There is not any actual magic ever.”
What units “Martin” aside from different vampire films is its startling lack of the very magic Martin talks about. What is considered a vampire on this movie is absolutely nothing greater than a time period used to explain a younger man’s horrific psychological state. The one energy he positive factors from sucking the blood of his feminine victims is a literal energy over their our bodies and their lives. Not like a vampire, he doesn’t want their precise blood to outlive, however he does really feel he must drug and homicide girls so as to feed his organic want for intercourse and companionship. By deciding to not make Martin an precise vampire, Romero pushes the style of the vampire film ahead in an especially literal manner. He forces us to consider our relationship to the phrase “vampire” in a manner that’s maybe a bit extra life like to the human situation. A vampire is not only a monster to be feared. Moderately, it may be anybody trying to overpower and dominate others. No thirst for blood truly vital.