The Omen

Unprecedentedly intensified atmosphere, nerve-wracking scenes in the cemetery, and of course the climax in the villa. Although it is not a purebred horror, one of the factors why I liked Donner's work so much is that apart from one of the final moments, he does not use traditionally scary moments, which greatly contributes to the claustrophobic mood. However, I would not praise it so much if it weren't for the traditionally amazing Peck in the main role, whose increasing nervousness, determination, and despair I watched in awe. This atmosphere can crawl into nightmares. (11/17/2006)

In the 70s, a fashion wave of Satanism was sweeping through Western Europe and the United States, which was also fueled by genre movies, the first of which was Rosemary's Baby and then the famous The Exorcist. Similarly, in literature, in 1969, LeVey's "The Satanic Bible" was published. The producers thought it would be a good idea to jump on this train and commissioned Richard Donner to make a film based on the book of the same name. Donner used minimal tricks and special effects, but because he is a good director, he managed to create an amazing and, as later sequels and remakes showed, practically incomparable atmosphere with very economical means. Through camera movement, religious music, choir liturgical singing, and various props, he managed to materialize the idea of pervasive, insidiously advancing evil that comes with a fateful inevitability through biblical prophecies. The premonition of death is accompanied, for example, by dark lines on the photographs of people who are supposed to die. Biblical motifs announcing the coming of the apocalypse and the Antichrist are associated with a gloomy church atmosphere. A special contrast and tension are created by comparing the demonic appearance of some spiritual - effectively positive - characters with the innocence of a small child who carries evil within. The whole movie evokes the arrival of darkness, irrationality, and the destabilization of everything that has been functioning in the material world so far. The literal genius lies in the open ending when the camera lingers for a few seconds on the face of a happily smiling child. Fear comes from that smile... Overall impression: 100%. (01/19/2008)

An amazing piece of filmmaking supported by an equally amazing music score. The story at the beginning is a bit too tedious for my taste, but things improve with every minute, and the last half hour (or rather, from the visit to the cemetery on) it’s already a five-star worthy experience. One of the most balanced horror movies I've seen, where not a single component (direction, music, actors, script) lags significantly behind the others. (05/18/2008)

Yes, there is only one The Exorcist, and as much as the ending gives me chills, I probably won't get chills from the ending of any other movie, except... except that The Omen is just extra-class, too. And Goldsmith's music in particular. I only knew it from listening to it on my own, but only here was it so demonic that I understood why even deaf academics were finally willing to give Goldsmith the Oscar (although he should have had at least three for Planet of the Apes, Patton and Papillon). (06/22/2016)

Am I the only one, or do you also have the feeling that currently every other brat standing next to you waiting for the bus might be the Antichrist, just unaccompanied by Goldsmith’s soundtrack of genius? Well, even if you don’t, believe me that The Omen is one of those rare horror movies from a period when this genre relied heavily on atmosphere and actors. It could easily be put on the shelf in between The Exorcist and The Medusa Touch (not only because of its release year), although Damien and his pooch are slightly overshadowed by them. Not much, but a bit, you must admit. Satan’s little boy’s reputation is saved primarily by the glorious ending, although the endings of the other two are still better. (03/26/2008)