Making a film of Jack London’s ‘best work of fiction’

Writer/Director Jay Craven comes to Sonoma on December 10 with his film Martin Eden, based on Jack London’s autobiographical novel, which was named the best feature of the year at the Boston Film Festival in 2021.

“London is well known, but not well understood,” Craven told me. “Martin Eden, which might be his best work of fiction.” Martin Eden was made with the movies in mind. 

Cinematic from beginning to end, it has the visual appeal of a well-made Hollywood classic. London, an early fan of the movies, sold the rights to many of his stories and tangled in court with producers and directors who aimed to steal his literary properties, though they were protected by copyright. Martin Eden is now in the public domain.

Craven, a Vermont native, has made nine feature films and six documentaries. He respects London as a writer, though he doesn’t idolize him. “It’s ironic that London, who was raised by a Black woman, became somewhat of a white supremicist as an adult during a time when Black intellectuals were emerging on the American scene,” Craven said.

Perhaps what’s most surprising about his Martin Eden is that the film boasts actors of color. They assume the roles assigned to white characters in the novel: Brissenden, a writer, a socialist and Martin’s comrade; Lizzie, a working class woman who tugs at Martin’s heart; and Maria, his feisty landlady. “From the start I wanted to work with Black and brown actors,” Craven says. “Unfortunately, the casting agent only sent me one Black guy to play the role of Cheeseface who is beaten up by Martin. That was unacceptable. We couldn’t show Martin doing that to a Black man.”

Craven’s Martin Eden is one of two recent movies based on London’s 1909 novel. The other is by the Italian director, Pietro Marcello, starring Luca Marinell in the title role. “In the Italian version, Eden is largely a self-absorbed prick,” Craven says. “I think he’s more sympathetic in my version. As a loner who believes in his own exceptionalism, he pursues the American Dream and is left emotionally stranded.”

There’s no happy ending in Craven’s film or London’s novel, though London advised up-and-coming writers: “avoid the unhappy ending, the harsh, the brutal, the tragic, the horrible—if you care to see in print the things you write.” He didn’t follow his own advice.

In London’s own day, Martin Eden was attacked from the pulpit because it was regarded as a glorification of individualism. London insisted that it was meant as a critique of individualism. He also said, “The author is the least competent to judge what he produces.”

The screening of Martin Eden, plus on the spot commentary by the producer/ director/writer at the Sebastiani in Sonoma provides readers and viewers with an opportunity to learn about Craven’s creative process and his craft.

“People who have seen the film—whether they’re in a theater with others or streaming at home—say it’s relevant to what’s happening now,” Craven says. “They also find humor in London’s ironic twists.”

Jay Craven’s Martin Eden. Friday, December 10, 2021. Sebastiani Theater, $15. 707.996.9756.