and here he offers a different picture of a man out of step with his moment. Martin Eden seems in his element at first; he’s a towering physical specimen, a handsome, strapping sailor who delights in the open sea but proves just as comfortable on land, where he spends one night romancing a local beauty . He awakens the next morning on the pier, just in time to defend a young man from being accosted by a guard.
Not that the world makes it easy. Martin lives with an older sister and a loathsome brother-in-law who belittles his studies and ultimately kicks him out. Education might be liberating but it comes at a far greater cost to Martin than it does to the Orsinis, who regard his aspirations wanly at best and contemptuously at worst . His lowly origins are a burden, a source of shame, resentment and despair.
Martin is thus pulled in many directions by dueling philosophies and political worldviews — a tension that Marinelli captures in a performance of furious physicality and relentless determination, his will seeming to harden in scene after scene. Once he gets his first story published, it doesn’t take long for him to become a literary sensation or for his contentment to curdle into disillusionment.
Over the past two decades, Marcello has made a number of poetic, formally inventive documentaries, like “The Mouth of the Wolf” , that call attention to lives lived on the margins of Italian society. “Martin Eden” might be a vastly more ambitious canvas, but the director’s fracturing of form continues. He channels both the empathetic spirit of
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