R
1978    1 h 35 minHorror, Dramat
6.990%76%6.8
Tytułowy bohater przybywa do Pittsburga pociągiem, gdzie od razu zostawia ślady swojej obecności. Wprowadza się do kuzyna o imieniu Cuda, który zatrudnił go do pracy w sklepie. Ponieważ jest świadomy inności Martina (tyle że pojmuje go jako klasycznego wampira bojącego się czosnku i krzyża), zabrania mu atakować ludzi żyjących w mieście. W szczególności nakazuje mu trzymać się z dala od mieszkającej z nimi wnuczki. Jednakże wampirza klątwa Martina da jeszcze o sobie znać.
Directed by George A. Romero

Where to Watch Martin

  • John AmplasMartin Mathias
  • Lincoln MaazelTada Cuda
  • Christine ForrestChristina
  • Elyane NadeauAbbie Santini
  • Tom SaviniArthur / Makeup Artist
  • Francine MiddletonTrain Victim
  • Roger CaineLewis
  • Sara VenableMrs. Willard
  • George A. RomeroFather Howard / Reżyseria / Screenplay / Editor
  • Michael GornickBarry - Radio Talk Show Host / Director Of Photography
  • Richard P. RubinsteinRichard / Producer
  • Clayton McKinnonDrug Dealer
  • James RoyDeacon
  • Donna Siegel
  • Vincent D. SurvinskiTrain Porter
  • Tony BubaSound
  • Pasquale Buba
  • Regis Survinski
  • Tony Pantanella
  • Tom WeberMan in Bathroom #2
  • GrimeFiVideo30 maja 2026
    Great atmosphere, great acting. An underrated Romero gem. Loved it.
  • Gabriel Sebastião da Silva Basilio12 kwietnia 2026
    Gloomy atmosphere, very borderline horror; I believe this movie kinda inspired the 1983 film "Angst" to be made.. the house invading and the rapes was very raw and disturbing. Perfect ending, i simply loved it.
  • Kevin Ward2 lipca 2025
    The Italian dubbed, English subbed, Dario Argento Cut with Goblin score. I think I like this version better than the theatrical cut. The theatrical version opens with the train kill, which is cool. But in Argento’s cut, the train sequence is moved to after he’s arrived at Cuda’s. Because the opening titles are attached to the train sequence, if effectively gives this cut A Long Cold Open. Loved the Goblin score here and it gives the film a completely different feel from the more subdued Rubinstein score. The last major difference I noticed was that all of the sections where Martin calls into the radio station are completely removed. Even though the result is that we get less insight into Martin’s headspace, I think the edit flows much better. I remember noting that the theatrical version’s edit felt very choppy in places, but I really didn’t feel that this time. I’m still really holding out hope 🤞🏻🤞🏻 that the 3.5 hour black and white director’s cut somehow finds a release, but it sounds like those plans have been scrapped, for now. 😢

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