The Omega Man

A film that can't help but aim too high, "The Omega Man" suffers from the very thing that makes it great. Set in a post-apocalyptic future (for the audience of 1971) the film attempts to show a world populated by a single solitary man. Well, a man and a cult of malcontented zombie/mutant/vampire beings. Robert Neville (Heston) is the lone survivor of a germ war that turned the population of the world into freaks. Based on the amazingly brilliant book "I Am Legend" by Richard Matheson, the film shares most of the qualities of the book, yet excludes the portions that make "Legend" fantastic.

The idea of being the last man is intriguing. I used to fantasize about being Neville as a child (probably not the healthiest thing for a kid). Neville has paradise, but with the highest price possible. He can have anything he wants, but no one to share it with. And come night time, he must hide in his fortress away from the angry mob of mutants.

The apocalyptic world that makes the first half so captivating is destroyed by the second half's plot device. I won't go into details for those who haven't seen it. However, I will say the film starts to slide downhill from the mid-way point. But the lesser parts can be enjoyed as early 70's camp.

Even with its faults, "The Omega Man" is a great Sci-fi movie. It also gives Heston a chance to play his quintessential role of a man at the end of civilization. The film's weaknesses don't ruin the experience entirely. It is a film that myself and my friends talk about to this day despite the fact that most of my friends only saw it once or twice (when forced by me).

Related note: I Am Legend was also made into the film "The Last Man on Earth" starring Vincent Price. "Omega Man" is discussed in the first scene of indie-film classic "Slacker."

This movie rocks, right from the opening scene where our hero leaps from his car and sprays mutants with a machine gun, to the final frame where... but enough of that. A great flick, one in a line of Charlton Heston post-apocalyptic movies. If you like this you'll love Soylent Green and, of course, the first two Apes films. Heston's like John Wayne in space. Nobody does it better. In this one disease-ravaged mutants stand in for the hippies- that fixes up society's problem with the riff raff, and Charlton has an inter-racial relationship. So there are mixed messages. Charlton Heston chews the scenery in every frame. Oh well, damn you all to hell.

Nothing beats your first time with The Omega Man. I first saw it as an impressionable pre-teen back in the 70s, and it immediately made it up there with James Bond, Evel Knieval and Bruce Lee as THE coolest thing I'd ever seen in my life. Time hasn't been all that kind to this film, and it seems a bit croaky all these years later, but c'mon, Charlton Heston fighting albino bikers has gotta be worth SOMETHING! The Woodstock scene is priceless, Zerbe makes a wonderful baddie, and remember Paul Koslo? What a dude. This movie is a hell of a lot of fun.

I love those 70's flicks. They really experimented with no-nonesense plotlines, and didn't have the resources to exceedingly engross themselves in needless over-production. This last issue is a big problem with many of today's movies, where your eyes often pop out, but your brain usually falls asleep. Someone here complained about the score. I felt the music was great, it sets the whole tone of the movie. For example, in the fight scenes, it gives you an eerie sense of repetition and fatality that, come to think of it, really is the whole point of the movie. Bottom line, just for the premise alone, it's worth watching. Expect some basic production and a couple of cheesy lines. But this is overly compensated by excellent tension and engrossing plotline.

One of these days soon we will see another remake of Richard Matheson's seminal Horror novella. If we do, I hope the marquee will read: "I Am Legend." This should be done for no other reason than to make it easier for Sci-Fi nerds to argue and champion their personal favorite. But I have this feeling the producers will take the easy way out.

Boris Sagal, the veteran television director, who died under the most grisly of circumstances--he walked into a helicopter blade--helms a brilliant adaptation of the book. Sure, they changed the vampires into psychotic albinos. And they also injected a heavy dose of the Seventies counter-culture. But the essential themes resist the tampering by the new screenwriters and remain solid story chestnuts. No one handles a weapon with such verve as Mr. Heston. He fires at random and generally hits something. Always a good approach in this type of movie. I enjoy his conversations with Caesar's bust in his "Honky paradise". The sculptures and paintings on the walls are actual reproductions of the immortals they represent. Also, check out the art work on the back of "Dutch's" jacket. It packs a wallop. Ron Grainer's score is legendary and has a elegiac feel punctuated by strange sounds from obscure instruments. The action scenes rival the best. Catch Heston's despair and loneliness when he jogs by a large office building along side a reflecting pool. Every scene is chock full of memorable lines and quirky bits of business. The bodies of the dead pop up randomly with a wild note on the soundtrack. There is a brief nude scene that for once fits into the plot. A standing ovation is in order for anyone left alive.