stephenneale67

The Omen is a truly accomplished work, brilliantly conceptualised and delivered and, in 1976, released to a world that was still susceptible to all things Satanic, coming on the back of such epics as Rosemary's Baby and The Exorcist. Indeed, The Omen represents the peak of this thematic era and has never been bettered. It is a film that works well on so many levels, taking a fantastical storyline - based around the child of a woman impregnated by a jackal - and yet somehow making it seem plausible. This is achieved through a combination of dynamics, foremost among which is the homework carried out by the writer, David Seltzer, in seeking to fulfil the apocalyptic prophecies of the New Testament Book of Revelations (principally the emergence of the Anti-Christ) through a twentieth century cinematic medium. Added to this, is the wonderful cast drafted in to imbue the scenario with credence. The film makers could scarcely believe their luck in securing the services of Gregory Peck in the lead role of Ambassador Robert Thorn, one of the most iconic stars of mainstream cinema, known for being choosy about the roles in which he would deign to appear, yet consenting to completely depart from the mainstream in this capacity, presumably because he too was inspired by the script and its potential. Marlon Brando once famously described Peck as 'wooden'. Reserved, perhaps, certainly steadfast and un-excitable, but either way - ideal for this part, serving as a well-balanced, level-headed, sensible diplomat, not at all disposed to the realms of fantasy, yet who is progressively forced to accept that he is nurturing the son of Satan due to the compelling sequence of events that unhappily befall him. Then there are the wonderful supporting acting abilities of Lee Remick - the woman he loves and so passionately strives to protect; David Warner - the photographer who pieces the mystery together, helping to persuade Thorn of the reality of his situation by coolly and clinically presenting the evidence; Patrick Troughton, who delivers possibly his greatest performance as the guilt-ridden priest; Billie Whitelaw as the truly creepy nanny - 'an apostate of Satan'; and - of course - the young Harvey Stephens, as the child, Damien, famously smiling among the tombstones at the end of the film, as all around him who have tried to thwart his diabolical destiny have been returned to dust. But above all, the film works simply because it grips the viewer on a psychological level, the intrigue maintained by excellent plot development and pacing, beautiful camera work and an unforgettable musical score throughout by Jerry Goldsmith.

More than thirty years on, The Exorcist remains a very powerful film and was a cinematographic milestone in 1973. Repeated duplication of the genre has, no doubt, 'desensitized' a new generation of movie-watchers, though it remains an unnerving masterpiece. It is not difficult to understand why the film generated such a seismic global impact all those years ago, since it imposed an unprecedented sensory attack on the viewer. Regan's vile physical appearance, combined with her vile language and blasphemous diatribe sent a shock wave around the world. Moreover, many people seemed to believe the claims that the film was based on a true story and could therefore actually happen to them. Electricity consumption must have soared for several months in 1973 as people who had seen the film slept with their lights on! It is still not a film I would feel comfortable watching before going to bed. On another level, I found parts of it profoundly moving and actually cried at the end when Regan was finally released from her possessor and wept in the arms of her mother and Father Damien, having lunged himself through a window and down a precipitous flight of steps, managed to find just enough life in himself to indicate that he had retained his faith and repented of his sins by motioning his fingers in the sign of penitence when comforted by a distraught colleague. Possibly the only thing that lets the film down if one really sits and thinks about it is the underpinning concept that an ancient demon which had existed since the dawn of time should wish to possess the body of a twelve year old child and emit a string of juvenile profanities. But then the film was designed to shock all along!