Una serie de muertes misteriosas rodean al embajador de Estados Unidos, que se pregunta si es posible que el niño al que está criando sea en realidad el Anticristo.Una serie de muertes misteriosas rodean al embajador de Estados Unidos, que se pregunta si es posible que el niño al que está criando sea en realidad el Anticristo.Una serie de muertes misteriosas rodean al embajador de Estados Unidos, que se pregunta si es posible que el niño al que está criando sea en realidad el Anticristo.
- Dirección
- Guionistas
- Elenco
- Ganó 1 premio Óscar
- 6 premios ganados y 9 nominaciones en total
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
Rightfully tense and spooky thriller from director Richard Donner that grabs its audience and does not let go until the shocking finale. American Ambassador Gregory Peck has come up with an idea after his new-born son dies at birth: he decides to pass another child off to wife Lee Remick as their own. Life in England seems grand for a few years, but as the child becomes a toddler (in the form of the young Harvey Stephens) strange murders start to occur. The child is really the son of Satan, born of a goat, and his only goal is to grow up and take over the world for his unearthly father. As the truth slowly unfolds, the film twists into disturbing murders and highly unholy situations. Not a film for the faint of heart and certainly not a perfect film, but still one of the stronger films of the usually luke-warm genre. 4 stars out of 5.
Following the heels of the success of The Exorcist, The Omen tells the story of the son of Satan being born from a mysterious pregnancy and given to a U.S. ambassador and his wife in Italy. The couple raise the young child, but things begin to happen to the couple as the boy matures. A governess hangs herself. The child acts wildly when brought near a Church. A spooky governess appears from nowhere to take care of the child. A black evil dog takes up residence at the child's bedroom. To complicate matters, a priest gets in touch with the father and tells him to beware his son and that he is the spawn of evil. The Omen works very well due to several factors. The script is generally well-written. The story is very implausable in some places, but it works on the whole. The use of powerhouse stars like Gregory Peck and Lee Remick in the leads help to give the film the royal treatment, making sure no one mistakes the budget, level of ability, and time put into this production. Peck is very good in his role as a man convinced(finally) of horrifying news. The rest of the cast does equally well with some fine performances by Billie Whitelaw as the crazed, manical governess, Patrick Troughton as the conscience-torn priest, David Warner as a helpful photographer, and Harvey Stephens as the young, sweet-yet evil looking Damien. Most of the film's success can be attributed to director Richard Donner. Donner keeps the pacing of the film tight, uses some first-rate pan shots, and creates a mood and suspense that build climatically throughout the film. Some of the scenes that are most memorable include Damien on a tricycle, Peck and Warner in a cemetery, and most famous of all is the priest's demise. A wonderfully shot sequence. The music in the film is a great asset to the overall mood. A very good film....not nearly as gory or shocking as The Exorcist but still as powerful in its own right for its seemingly somewhat realistic adaptation of scripture.
The first and best in the series of films about devil-child Damien teamed a great cast (Gregory Peck, Lee Remick, David Warner, Patrick Troughton, Billie Whitelaw) with Harvey Stephens in a chilling performance as the child.
The deaths most of the cast meet are inventive and in some cases, memorable for many years after viewing the film - giving the opportunity for some unusual and striking visuals, while the whole film is soaked in that loud Goldsmith score to great effect.
The sequels, alas, were poor in comparison, but 'The Omen' stands alone of its type of seventies horror schlock.
The deaths most of the cast meet are inventive and in some cases, memorable for many years after viewing the film - giving the opportunity for some unusual and striking visuals, while the whole film is soaked in that loud Goldsmith score to great effect.
The sequels, alas, were poor in comparison, but 'The Omen' stands alone of its type of seventies horror schlock.
Robert Thorn the American ambassador to Great Britain watches his wife's pregnancy when a priest tells him that his newborn has died, but he convinces him to substitute the baby (the wife not knowing) with another child that lost its mother in labour at the same time. Watching their young child growing up, he starts show unnerving signs, which the parents slowly start picking up on and also bizarre tragedies start occurring. This leads Robert on a whirlwind investigation that all points to his son being the Anti-Christ.
Right off the heals of 'The Exorcist' successful stint with moviegoers comes another one of those endless 70s religious themed horror flicks involving Satanism. 'The Omen', I'd definitely say is one of the better horror films in the shadow of "The Exorcist', but I'll even go to say its an vast improvement over it's influencer. That might be a surprise for some, but I found this film superior as it was more entertaining, fascinating and truly creepy in its context and shocks. Everything about it has a knack for falling into place. From the impending doom that's achieved by its coldly layered atmosphere to a premise that teases the viewer on how it's all going to play out. I won't deny that it seems silly enough when you pay close attention to it all, but with such conviction in the performances and that off confident direction, these factors makes sure that it doesn't slip overboard into cheesy daftness. Another stroke of brilliance would be Jerry Goldsmith's memorably, nerve-wrecking score with those explosive chants scattered throughout.
On a grand scale the film was efficiently catered with well established cinematography and polished set-pieces that had penetrating might, which director Richard Donner handled with precise skill. Even when there wasn't much happening he knew how to keep things compellingly tight with good pacing and impressible imagery. Though, when it came to the essential thrills, he caps off some remotely tense (dogs' attack) and macabre moments (infamous decapitation) that display bite and flair. The climax is great and the ending is a fitting imprint too. The plot is filled with shocking revelations, interesting characters and it emits a glorious amount of excitement and dread from it mysterious outset.
The performances are that of top quality by a stellar cast. Gregory Peck and Lee Remick are convincingly excellent as Mr and Mrs Thorn. David Warner turns in a marvellous performance as the photographer Keith Jennings. Then Billie Whitelaw is genuinely creepy as Damien's nanny Mrs. Baylock. Patrick Troughton is superb as the withering Father Brennan. But my applause goes to Harvey Stephens' who's the epitome of evil well; he definitely looked the part and had a memorizing awe as Damien. Although, Peck deserves more credit really, as he brought such devotion to his character that we honestly feel the pain and confusion that hits home.
One of the true benchmarks of horror, along the same lines of 'The Exorcist', but for me it beats that film all ends up. Expect a devilishly good time!
Right off the heals of 'The Exorcist' successful stint with moviegoers comes another one of those endless 70s religious themed horror flicks involving Satanism. 'The Omen', I'd definitely say is one of the better horror films in the shadow of "The Exorcist', but I'll even go to say its an vast improvement over it's influencer. That might be a surprise for some, but I found this film superior as it was more entertaining, fascinating and truly creepy in its context and shocks. Everything about it has a knack for falling into place. From the impending doom that's achieved by its coldly layered atmosphere to a premise that teases the viewer on how it's all going to play out. I won't deny that it seems silly enough when you pay close attention to it all, but with such conviction in the performances and that off confident direction, these factors makes sure that it doesn't slip overboard into cheesy daftness. Another stroke of brilliance would be Jerry Goldsmith's memorably, nerve-wrecking score with those explosive chants scattered throughout.
On a grand scale the film was efficiently catered with well established cinematography and polished set-pieces that had penetrating might, which director Richard Donner handled with precise skill. Even when there wasn't much happening he knew how to keep things compellingly tight with good pacing and impressible imagery. Though, when it came to the essential thrills, he caps off some remotely tense (dogs' attack) and macabre moments (infamous decapitation) that display bite and flair. The climax is great and the ending is a fitting imprint too. The plot is filled with shocking revelations, interesting characters and it emits a glorious amount of excitement and dread from it mysterious outset.
The performances are that of top quality by a stellar cast. Gregory Peck and Lee Remick are convincingly excellent as Mr and Mrs Thorn. David Warner turns in a marvellous performance as the photographer Keith Jennings. Then Billie Whitelaw is genuinely creepy as Damien's nanny Mrs. Baylock. Patrick Troughton is superb as the withering Father Brennan. But my applause goes to Harvey Stephens' who's the epitome of evil well; he definitely looked the part and had a memorizing awe as Damien. Although, Peck deserves more credit really, as he brought such devotion to his character that we honestly feel the pain and confusion that hits home.
One of the true benchmarks of horror, along the same lines of 'The Exorcist', but for me it beats that film all ends up. Expect a devilishly good time!
This movie was back when you had to be creepy to scare people, vs gross.
And there's nothing creepier than scary movies with religious undertones.
This movie is one of the rare good ones that came out of the 70s, still watchable today.
But you'll have to like older films in general, to be able to enjoy it.
It seems the negative reviews are all people who hate religion - but still put on a movie revolving around religious undertones. Lol It's not the movie's fault they're an idiot.
Historically, this is a great flick - because you can really see what 90s films would eventually be, in it.
Way ahead of its time, as to directing.
And there's nothing creepier than scary movies with religious undertones.
This movie is one of the rare good ones that came out of the 70s, still watchable today.
But you'll have to like older films in general, to be able to enjoy it.
It seems the negative reviews are all people who hate religion - but still put on a movie revolving around religious undertones. Lol It's not the movie's fault they're an idiot.
Historically, this is a great flick - because you can really see what 90s films would eventually be, in it.
Way ahead of its time, as to directing.
¿Sabías que…?
- TriviaHarvey Stephens, as Damien, was largely chosen for this role from the way he attacked Richard Donner during auditions. Donner asked all the little boys to "come at him" as if they were attacking Katherine Thorn during the church wedding scene. Stephens screamed and clawed at Donner's face, and kicked him in the groin during his act. Donner whipped the kid off him, ordered the kid's blond hair dyed black and cast him as Damien.
- Errores(at around 1h 26 mins) Toward the end of the film, Jennings says that the place name Megiddo derives from the term Armageddon. Actually, it is the other way around - "Armageddon" is a bastardization of "Har Megiddo", which, in Hebrew, means simply "mountain of Megiddo". According to Revelation 16:16, this would be the site of the last battle in history.
- Citas
Young nanny: Look at me, Damien! It's all for you.
[she jumps off a roof, hanging herself]
- Créditos curiososClosing credits epilogue: "Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is 666."
Book of Revelation Chapter 13 Verse 18
- Versiones alternativasIn the Swedish version, the scene showing Jennings being decapitated has been cut by 11 seconds.
- ConexionesFeatured in V.I.P.-Schaukel: Episode #6.3 (1976)
Selecciones populares
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- How long is The Omen?Con tecnología de Alexa
- Why did the police offocer follow and chase the Thorn when he left the estate?
- How is Damien a human if his birth mother is somehow a jackal?
- Why did the Thorn family not discover the birthmark on Damien´s head earlier? When he was a baby he had no hair after all.
Detalles
- Fecha de lanzamiento
- Países de origen
- Idiomas
- También se conoce como
- The Omen
- Locaciones de filmación
- Guildford Cathedral, Guildford, Surrey, Inglaterra, Reino Unido(Where the wedding was being held)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 2,800,000 (estimado)
- Total en EE. UU. y Canadá
- USD 60,922,980
- Fin de semana de estreno en EE. UU. y Canadá
- USD 4,273,886
- 27 jun 1976
- Total a nivel mundial
- USD 60,922,980
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