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Martin (1976) More at IMDbPro »

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George A. Romero (written by)
View company contact information for Martin on IMDbPro.
Release Date:
7 July 1978 (USA) See more »
A Vampire for Our Age of Disbelief See more »
A young man, who believes himself to be a vampire, goes to live with his elderly and hostile cousin in a small Pennsylvania town where he tries to redeem his blood-craving urges. Full summary » | Full synopsis »
Plot Keywords:
User Reviews:
A dark family drama in the guise of a typical Romero horror-fest; one of his best as writer/director See more (75 total) »


  (in credits order) (verified as complete)
John Amplas ... Martin
Lincoln Maazel ... Cuda
Christine Forrest ... Christina
Elyane Nadeau ... Mrs. Santini

Tom Savini ... Arthur
Sara Venable ... Housewife Victim
Francine Middleton ... Train Victim (as Fran Middleton)
Roger Caine ... Lewis (as Al Levitsky)

George A. Romero ... Father Howard
James Roy ... Deacon
J. Clifford Forrest Jr. ... Father Zulemas
Robert Ogden ... Businessman
Donaldo Soviero ... Priest (segment "Flashback")
Donna Siegel ... Woman (as Donna Siegal)
Albert J. Schmaus ... Family
Lillian Schmaus ... Family
Frances Mazzoni ... Family
Vincent D. Survinski ... Train Porter
Tony Buba ... Drug Dealer #1
Pasquale Buba ... Drug Dealer #2
Clayton McKinnon ... Drug Dealer #3
Regis J. Survinsky ... Hobo #1
Tony Pantanella ... Hobo #2
Harvey Eger ... Man in Bathroom #1
Tom Weber ... Man in Bathroom #2
Robert Barner ... Police
Stephen Fergelic ... Police
Douglas Serene ... Cyclist #1
Jeanne Serene ... Cyclist #2
Nicholas Mastandrea ... Marine #1 (as Nick Mastandrea)
John Sozansky ... Marine #2
Ingeborg Forrest ... Mrs. Anderson
Carol McCloskey ... Mrs. Bellini
rest of cast listed alphabetically:
Michael Gornick ... Barry - Radio Talk Show Host (uncredited)
Katherine Kolbert ... Woman with baby at Ice Cream Truck (uncredited)
Robert Langer ... Cameo (uncredited)
Richard P. Rubinstein ... Richard - Housewife Victim's Husband (uncredited)

Directed by
George A. Romero 
Writing credits
George A. Romero (written by)

Produced by
Patricia Bernesser .... associate producer
Richard P. Rubinstein .... producer (as Richard Rubinstein)
Ray Schmaus .... associate producer
Ben Barenholtz .... producer (uncredited)
Original Music by
Donald Rubinstein 
Cinematography by
Michael Gornick (director of photography)
Film Editing by
George A. Romero 
Makeup Department
Tom Savini .... makeup artist
Douglas Serene .... hair stylist (uncredited)
Production Management
Michael Gornick .... post-production supervisor
Sound Department
Tony Buba .... sound
Special Effects by
Tom Savini .... special effects
Tom Savini .... stunts (uncredited)
Camera and Electrical Department
Phillip Desiderio .... grip
Tom Dubensky .... assistant camera (as Tom Dubinsky)
Steve Lalich .... grip
Nicholas Mastandrea .... assistant camera (as Nick Mastandrea)
Editorial Department
Michael di Lauro .... post production assistant (as Michael Di Lauro)
Ed Keen .... post production assistant
Music Department
Jay Mandell .... music engineer
Donald Rubinstein .... music arranged by
Mike Avery .... musician: percussions (uncredited)
Ellen Demos .... singer: chant vocals (uncredited)
Richard Gertz .... musician: bass guitar (uncredited)
Steve Gorn .... musician: flute (uncredited)
Maurizio Guarini .... musician (uncredited)
Paul Johnson .... musician: vibraphone & percussions (uncredited)
Dan Kellar .... musician: violin (uncredited)
J. Michael Kelly .... musician: guitar & voices on percussion improvisations (uncredited)
Lisa Korns .... musician: flute (uncredited)
Sandy Lipsman .... singer (uncredited)
Agostino Marangolo .... musician (uncredited)
Massimo Morante .... musician (uncredited)
Hankus Netsky .... musician: oboe (uncredited)
George Olson .... musician: viola (uncredited)
Mike Pelham .... musician: percussions (uncredited)
Fabio Pignatelli .... musician (uncredited)
Hank Roberts .... musician: cello (uncredited)
Donald Rubinstein .... musician: vocals, piano, guitar, & voices on percussion improvisations (uncredited)
Betty Silberman .... singer (uncredited)
Claudio Simonetti .... musician (uncredited)
Mark Zamcheck .... musician: piano (uncredited)
Other crew
Barney C. Guttman .... financial services
Tony Pantanella .... technical assistance
Donna Siegel .... assistant to producer (as Donna Siegal)
Regis J. Survinsky .... technical assistance
Joyce Weber .... production coordinator

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"George A. Romero's Martin" - USA (DVD box title)
See more »
95 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:

Did You Know?

Romero has confirmed that there is no known existing copy of the legendary 2 hour 45 minute cut at a recent screening of the film in New York City.See more »
Continuity: After the encounter in his bedroom with Martin, Tada Cuda is seen walking to his store with another man. In the next cut in front of the door the man is not there.See more »
Christina:If you need anything, just call me. I'll come, I'll send you the money.
Martin Madahas:No, you'll forget about me.
Christina:No, I won't. Why do you think I'll forget?
Martin Madahas:Because you're going away. People always go away so they can forget where they were.
See more »
Movie Connections:
Referenced in Tom Savini: The Early Years (2004) (V)See more »


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15 out of 17 people found the following review useful.
A dark family drama in the guise of a typical Romero horror-fest; one of his best as writer/director, 6 March 2005
Author: MisterWhiplash from United States

One of the two horror film sleepers of 1977 were not necessarily definable under the usual typecasts of the genre: David Lynch's Eraserhead, which drew itself more to a kind of surreal horror from paintings and animation; and this film, George A. Romero's Martin, where the horror is not what is usually expected from the director. Indeed, before I saw this film I generally related Romero to the status of a horror-film maverick, where he brings out much of the violence and tension in his films that we as the audience wouldn't get on TV. His subversion's of the genre, however, can be sensed in his zombie satires, as he makes his characters and situations, for the most part, far more believable aside from the dark fantasy/graphic comic-book quality of the designs and look of the films. There's something to think about with his films, even as flesh and blood get tossed about.

But this time, for Martin, he made a story that deals with the human relationships even more so than the creepy and supernatural elements of his other works. Martin is a vampire movie, and there are some key scenes that deliver the good for the fans (and, again, going against expectations, as if Romero was a "new-wave" filmmaker from Europe), but also giving something for people who may not be expecting depth in the themes and situations with these people. The main characters of the film, aside from the protagonist Martin (a twisted and very confused protagonist at that), are all developed very well, and aren't necessarily one-sided or even two-sided portraits of caricatures in other vampire movies. For example, the sort of 'Van Helsing' character in this film is in the form of Martin's uncle Tada Cuda, played by Lincoln Maazel. He's the only one that knows, and is terrified of, Martin's secret life, and upon first bringing him into his home, Tada tries to use crosses and holy water on Martin. Martin can't be fooled, and so Tada resigns, for the moment.

While Tada is the kind of typical, harsh old man that acts like something of an antagonist for him and Tada's daughter, he may not be entirely one-sided by the end of the film. The theme of Christianity, as shown in certain variables as the film cuts to black and white flashbacks, explores it in a very on-target way. Why do vampire movies have this kind of magical ability to wash everything with a cross and silver and garlic? Martin seems to ask these same questions, when he calls up a radio show (his only real output of his frustrations, though a media that still treats his despair as a joke). Martin himself, played in a peculiar, low-key way is John Amplas (an actor who has his peak in this film, having only appeared in bit parts in other films, mostly Romero's). He is often observing, never sure what it is he'll say, and much to how his character is and evolves, has skills of a predator. He was perfect for the role, as he has a level of vulnerability and sincerity that can be connected to, while at the same time in a conflict about what to do with his craving for blood. That the other actors, all indie actors (one of them, Christine, played by Romero's wife), are really quite good with the material, helps the feel and flow of the film.

Some directors can't stand editing their own films (John Ford once said he hated sitting in on it, as other have as well), and while they sit in with the editors and make notes, few actually go to the machines and do the work themselves. Romero is one of the few that seems to really enjoy the process, and has fun with it. In some ways his movement within the frame, and with the pacing of Martin's sense of reality and of the past, makes the film seem like it should almost belong in an art-house (so to speak) as opposed to at a midnight cult-horror theater. That's not to say he doesn't have it in him to give people their money's worth expecting to get the pants scared off their waists. In fact, there is one big sequence in the film (where Martin stalks and attacks, needle in hand, a married woman who's having an affair) that is one of Romero's most suspenseful and unusual. Not to mention there is an ending that wraps everything up rather terrifyingly- one knows something like this would be coming, but not from this direction.

Simply this, Martin is smarter for it's regularly intended audience out for simple thrills and cheesy characters- it's a drama that involves searching for companionship, the significance of religion on people, and trying to fit in to one side or another. And it's also a low-budget 70's horror film with a few scenes that hit more on a visceral level than on cheap effects (not to say there aren't a couple, ho-ho). To put it another way, I viewed the film for the first time on a video released in the 80's. Now I'll be on the look-out for the DVD a.s.a.p.

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