Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Pietro Marcello
Writer: Maurizio Braucci, Pietro Marcello, novel by Jack London
Cast: Luca Marinelli, Jessica Cressy, Denise Sardisco, Vincenzo Nemolato
Screened at: Critics’ link, NYC, 10/2/20
Opens: October 16, 2020
In the forceful prose that is the backbone of his writing, Jack London says this in his novel “Martin Eden.”
Who are you, Martin Eden?. He gazed at himself long and curiously.
Who are you? What are you? Where do you belong?
You belong with the legions of toil, with all that is low, and
vulgar, and unbeautiful. You belong with the oxen and the drudges,
in dirty surroundings among smells and stenches.
And yet you dare to open the books, to listen to beautiful music, to
learn to love beautiful paintings, to speak good English, to think
thoughts that none of your own kind thinks, to tear yourself away from the oxen
You need not have a whole lot of insight to note that these are the insights of a man who hates being lower class, who dislikes having to work for bosses who treat the workers like crap, to shoveling manure, toting that barge and lifting that bale. Eden is the name chosen by the author perhaps to sound ironic or maybe to illuminate the higher class to which he aspires. “Martin Eden” is considered a bildungsroman, a novel based closely on the author’s life and feelings and aspirations. The film, like the book, traces Eden’s yearnings for a life of the intellect, a life that would give him ease, and most of all a life to make him a worthy lover of a rich, beautiful woman.
As played with passion by Luca Marinelli and directed by Pietro Marcello, whose “Lost and Beautiful” deals with a man’s promise to a shepherd to save a young buffalo, Eden is a sailor who travels the world and who is told by friends and associates to stay with this kind of existence. It suits him. They warn him not to strive to be something that he is not. This passionate man, who has only a primary education, falls hopelessly in love with Elena (Jessica Cressy) after having met her and her impossibly rich family after saving the family’s young Arturo Orsini (Giustiniano Alpi) from the fists of a brutal security guard.
Given Eden’s sensibilities contrasted with the ethereal personality of Elena (who plays piano, loves paintings, and enjoys the trapping of a life not distracted by the need to work), Eden absorbs the advice given to him by the young woman to first get an education. The lack of formal schooling, however, does not prevent Eden from writing, and given his world-wide experiences at sea, he has experiences to project. But his stories are rejected time after time (think of John Grisham whose manuscripts were rejected some thirty times), so Eden hopes to gain the requisite literary touch as a feverish reader.
He may have gotten nowhere with his writing or his courtship had it not been for a kind widow Maria (Carmen Pommella) who had “known love” and gives him room and board; and Russ Brissenden (Carlo Cecchi), a writer and editor, who sees potential in his prodigy. Still Eden remembers his roots, shown convincingly enough when he picks up a waitress (Denise Sardisco), comparing her favorably with his upper-class love. His desire for Elena, however, is waning.
Eden has a run with politics brought on by the demands of working class people who are fighting for socialism. You might think that Eden would agree, but instead, having read the libertarian writings of Herbert Spencer, he rises to the podium and, to the disgust of the crowd, announces that subordinating the individual to the community is wrong, and that evolution teaches that we will always have masters.
“Martin Eden” is of epic scope, the kind of film that could easily have gone on for three hours, digging ever so much more deeply into the principal character’s metamorphosis. As the picture stands, filmed with evocations of the color of Neapolitan streets by Alessando Abate and Francesco Di Giacomo in Balzana Santa Maria La Fossa and Naples, “Martin Eden” is an enterprise that would likely garner the respect of Jack London.
129 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online
Story – B+
Acting – A-
Technical – B+
Overall – B+