MARTIN EDEN

Italy, 2020, 129 minutes, Colour.

Luca Marinelli, Jessica Cressey, Denise Sardisco, Aurelia Ranieri, Elisabetta Valgo, Carlo Cecchi.

Directed by Pietro Marcello.

Novelist, Jack London, is best known for his stories, Call of the Wild and White Fang. He wrote a number of short stories about the Klondike and the gold rush where he spent a great deal of time as well as stories of the Pacific. He was also concerned about social and socialist issues and individualism. This is reflected in his novel, Martin Eden, which has some autobiographical links. The original novel was set in Oakland in the early 20^th century.

This version is an Italian interpretation, keeping close to many aspects of the original novel. It is now set in Naples and retains the names of several of the characters, Martin Eden himself and his eccentric friend and sometimes-mentor, Russ Brissenden. However, the names of the women and families have been changed.

On the one hand, the scenario plays as if it was a realistic dramatising of Martin Eden’s life and career. On the other hand, there are continued suggestions, evocations, that while this is a 20^th-century story, it is a 20^th-century somewhat parallel to the reality. Throughout, there are implications of different decades, mixed together, costumes and decor, cars and transport, technology from recorders to typewriters. Which means then that, while we are watching an Italian unfolding, the story is universal and transcends the decades.

This is reinforced by the inclusion of a great deal of film footage from the past, again illustrating different decades, ships and seafaring, crowd sequences and political movements…

Luca Marinelli won the Best Acting award in Venice, 2020, for his portrayal of Martin Eden. Eden is not a particularly sympathetic character, which means that the audience is observing him, often judging him, rather than empathising with him and his struggles. We see his poor background, his devotion to his mother, his relationship with his sister and her husband whom he dislikes but who challenges him to work. He is a sailor, harsh experiences at sea.

The film dramatises a turning point in his life when, after visiting a bar, he helps the wealthy young man who is set upon by thugs – and the young man gratefully introduces him to his family, the Orsinis, upper-middle-class, conservative, initially welcoming him, and his being smitten by the daughter of the family, Elena (Jessica Cressey). She challenges him, especially concerning his education and he begins a two-year course, going to exams and failing, learning to read, learning to speak grammatically, buying a typewriter, beginning to write stories, sending them off and being rejected.

However, his education and continued reading means that he gives a great deal of thought to social conditions, going to meetings, encouraged by the eccentric Russ Brissenden, making speeches about the importance of the individual, a critique of socialism (all really being enslaved by the socialist bosses), heckled and rejected. And, rejected by Elena and her family who disagree him.

But, he succeeds with his reputation, is preparing for a lecturing tour of the United States. He is disturbed by Russ Brissenden’s death, is in a relationship with the young woman, Margharita, whom had first met years earlier at the bar.

The climax of the novel is Martin Eden confronting himself, what he has made of himself, what his success has made of him – something of the confrontation that Jack London himself felt, dying at the age of 40, suggestions of suicide.

This is something of an esoteric interpretation of London’s novel.

1. The Jack London novel? His career, sailor and work? Writing? Political and social views? The relationship of the novel to his own life and attitudes?
2. An Italian film, a free interpretation, the transition to the Italian settings, Naples and general? Transferring the characters, situations, political discussion?
3. The stylised nature of the film, ranging through the particular decades of the 20^th century, the range of eras in their look? An alternate 20^th century world? The references to the particular decades, implements, costumes, décor, the range of technology?
4. The stylised nature of the film with its incorporation of old film footage, representing the past, shortcuts for information, delineation of character, Martin Eden at sea, in the ports, his work, the ships, the ship sinking…? The musical score? Classics?
5. 21^st-century perspective on Jack London, socialism, individualism, the perspective of the filmmakers? Martin and his individualistic perspective?
6. Martin, his background, poor, upbringing, family? Lack of education? Going to see, his work on the boats?
7. His sister, her husband, boarding, disagreeable, being offered a job, his refusal?
8. His life, prospects, the taverns, the encounter with Arturo, saving him? The introduction to the Orsini family, their wealthy way of life, society? The meals, his visits, close on what to wear, his manner? His opinions? The reaction of the parents? The attraction by Elena?
9. Martin, his decision, to study, his being urged to read? His vocabulary? Eleanor and her help and encouragement? The exam on Roman studies, his failing? The continuing over two years? His skills, writing, the stories, sending them to publishers, their being returned? With his mother, her support? Family memories?
10. Buying the typewriter, the books, the libraries? His writing, the transition?
11. The change in Martin, the acceptance of the manuscript, his exhilaration, his mother? Eleanor, her love? The visits? But his frank talking, the judge present, expounding his ideas, Eleanor and her reaction, her mother’s reaction? His becoming persona non grata?
12. The past, his encounter with Margharita in the bar? Her working as a waitress, the encounter with Eleanor and his derogatory remarks? His going back to her, and support? The tensions in the relationship?
13. Eleanor, disdaining Martin, his success, change, his visit to her, his rejection?
14. Martin and his friendship with Russ Brissenden, the eccentric, at the Orsinis, the discussions, his health, his writing, giving it to Martin? His suicide?
15. Martin, his independence, success, being invited to give speeches, the impassioned speeches, the objections from the audience? The socialism context? Yet his focus on individualism? And his own person individualistic attitudes?
16. The plans for the United States, Margharita, his health? The effect of his notoriety?
17. The image of the ship sinking? Martin and his walking into the sea?