The movie “Martin” distinguishes itself in the overwhelmingly action-oriented setting of cinema to tell a heart-felt story that pushes character and political agendas. The protagonist, on the centrality of which hinges the problems of love, identity and sacrifice of a man and his relationship with his lover, father and country is Martin, an average Joe. Using elements of postmodernism, the story focuses on anesthesiology and growth in opposition to the chaos of contemporary life, dignity and belonging in the modern world.
Jumping with a hint of bitter feeling shows Martin’s vulnerability exceedingly effectively utilizing variation of eminent shades of emotions: high gradually shifting to low, concentrating more on radical events, which in some cases may be better conveyed through no sound, thus making it even more powerful. The lead actor is very good in portraying the character inclusive of the flaws; he is also good in portraying the relationship string between the two fictional characters.
That is done deliberately, and while there are epic wars on the screen, there are also quiet contemplations, bolstered by the visual picture of the film that also combines epic and intimate spaces. Although this slow and pensive structure might lead one to suppose that one scene could be decisive at the wrong time in some examples the pacing is taken to such a level of analysis. Therefore, “Martin” is a work that poses the questions regarding the notion of identity and the concept of loyalty, while being a work of art itself; it serves as an embodiment of an internal conflict.
