I have a feeling this is less profound of an adaptation than the filmmakers think, that said I do appreciate the performances and the ending.

This is a curiosity: I cannot really understand why people keep remaking this. The book is an exploration of the proto fascist ideas of Herbert Spencer who attempted to apply the survival of the fittest to human society. The eponymous hero is physically and mentally powerful so that he can flourish in a tough working class environment and conquers bourgeois society. He is a Spencerian Superman but it brings no fulfillment. All a bit weird if you ask me. The film feels disjointed and the underlying themes outdated. We have social security now for heavens sake.

A movie masterpiece by director Pietro Marcello starring a very convincing and passionate Luca Marinelli. Jack London would be proud.

This is a thoughtful watch - I was concerned it may be a bit too Les Miserables-esque, a film focussing purely on the pain of those far down the 'pecking order', which is the case in one respect but I actually thought this came across as a more hopeful film than I think I'd expected. Yes its about fighting against the opressive government/society/employers etc. 'the system' but its also a romance story and a story about a writer trying to find his feet (and his voice). The script is decent and I thought it was quite a gripping watch really. Yes, I would recommend this film, though its perhaps a bit of a challenging watch thematically but its certainly not entirely the gloom and doom I somehow imagined it to be (maybe I'm wearing rose tinted spectacles?). I also thought that Luca Marinelli gave a very good performance as the titular character.

excellent italian reinterpretation of jack london

Martin Eden is an ambitious, vibrant and bold film about a magnetic personality undergoing a journey of life. Based on the 1909 novel by Jack London this superb film has been moved to Naples, Italy. It's hard to pinpoint which era though as the technology changes through out the film. Eden is a sailor living a roustabout life with little education. He rescues a young man at the docks and is taken home to his family, the Orsinis. The Orsinis live a rich life of wealth and art and science. Eden falls in love with their daughter, Elena, and also vows to make himself educated and become a writer. The journey is a fruitful one and a long one. It's engaging and triumphant. The film is a heady mix of sex, politics and high idealism. All of which is anchored by a magnetic performance by Luca Marinelli. A film of high ambition and firm ideas.

Based on Jack London's 1909 novel of the same name, Pietro Marcello's adaptation transposes the location of the story from California to Naples to stunning effect. Early on, Martin, who lives with his sister and her husband and their young children, rescues Arturo from a beating on a Napoli pier. So grateful is Arturo, he insists on bringing Martin to his family home so they can thank him in person. This is where Martin meets Elena, Arturo's sister, and falls hopelessly in love with her. It's a tale as old as time and indeed the novel on which it is based is over a century old. The cultured and refined Elena is not only the beacon to which Martin looks to romantically, it's her social status and class that Martin sets his heart on. As someone born into poverty, he's not had the same opportunities that Elena and her family have, and he aspires to reach her intellectual level at great cost and constant obstacles. Despite the problems posed by society and social structures, Martin is determined to be successful, and we are drawn into his quest with some truly superb acting by Luca Marinelli (who should draw awards attention with this performance) as well as his peers. We are given fascinating snippets of both Martin's earlier life and contextualised old stock film footage in frequent edits that give the film a haunting beauty, a feeling that never leaves, especially in its more tragic moments. Martin Eden is perfectly paced, merging the criteria of both a romantic drama and a something like a biopic to wonderful effect. It takes a an excellent romance film to fully draw me in, but the screenplay combined with the acting leave you no choice. Martin is no stranger to frollicking; his social class and upbringing doesn't leave much option for celibacy, but when he and Elena finally declare their love for each other, it's clear that it's something neither of them have experienced before. "I've never loved before," says a breathless Elena. "Let's learn together," replies Martin, in just one of a dozen achingly beautiful sequences. The film takes a political turn in the final third, brilliantly whipping up conflict between the pair as Martin turns to socialist circles to try and understand and impact his own world more effectively, and this brings him into dissension with Elena; right at a time that it seems Martin's dream to be a writer could have some traction. I urge you to seek it out.

Ambitious is a good word, became a bit one-note for me though. And the personal transformation a bit unbelievable.

I recommend at least reviewing the Wikipedia page on Jack London's novel so you know the backstory of early 20th century political philosophy. This is an artistic film and I am not surprised about the gap between professional reviews and us mere mortals. However, if you enjoy films for which you think you should be able to get college credit this may be for you. Some of the subtitles are washed out against white background, however the rich visual palette carries the story. (If you are fluent in Italian this won't be a problem)

I liked this film mainky for its artistic value. I like how it is film and how it is acted. However, the last 30 mins are quite chaotic and frankly non-sensical. Not for everyone.

I have a feeling this is less profound of an adaptation than the filmmakers think, that said I do appreciate the performances and the ending.

Aside from losing the girl from the beginning, it elegantly shows the struggles of a true marxist in the early 20th century. The film shoots its scenes like "Bad Taste (1987)" and "Slumber Party Massacre 2 (1990)". The head on shots show how divided he is between his friends opinions and his opinions, I think.

My new favorite film of the year so far. So much craft and depth. Felt like coming up for air. *Didn't hold up as well on second viewing. Still good, but not the revelation I thought it was. Either it caught me on a good day the first time around or on a bad day the second.

This reminds me of the Modest Mouse song, Bukowski: "God, who'd want to be such an a**hole?" While the conventional bootstrap story of the first part is somewhat entertaining, the last part, long after success has been achieved, depicts so much boorishness and pretentiousness that I was ready for the film to end long before it actually did. There is zero subtlety here. The archival footage seemed tacked on. Gave it a half star for at least giving me interesting and attractive faces to look at for two hours.

I did not read the book, and yet I feel that this italian work, found the way to export the essence of it.

Loosely based on author Jack London's 1909 novel of the same name, this Italian adaptation struggles to find its footing with an overly intellectualized narrative that attempts to fuse sociopolitical discussion with the merits of self-education and personal growth and development. Set in an indeterminate time in Italy's history (though the 1970s would be a good guess), the film follows the odyssey of an angry young working class man with minimal schooling who seeks to improve himself and rise above his social status by ravenously reading and pursuing a writing career after meeting a bourgeois love interest. It's a process that gradually turns him into an angrier young man when his vocational pursuits don't pan out, leading to personal dissatisfaction, unwitting political turmoil and the dissolution of his forbidden romance -- all of which ironically lead to his unexpected recognition as a gifted scribe, unexpected success and a new round of individual disillusionment. While the film is modestly interesting in the first half, it gradually starts to fall apart thereafter before completely losing it in the incoherent, overly dramatic final act. Don't let the lavish praise heaped on this offering fool you. This one is vastly overrated, to be sure.

Beautiful, but somewhat jumbled adaptation of London's novella.

in the rare moments of uncertainty mainly due to the script, the performance of Luca Marinelli is so stunning and incredible that manages to make up for even these small flaws