Who out there enjoys being scared? That rush of excitement and fear takes over. It can be a surprise appearance of a figure. Or maybe a shocking loud rush of music or sound. There could be an impending sense of dread as all the hairs on your arm stand on end. What about something so shocking that you fear what will happen next?
There are so many different ways that filmmakers can bring the scares to their audiences. For me personally…I hate being scared! I honestly get scared REAL easily. I was once tricked into watching the opening scene of The Lost World: Jurassic Park because I was told we were going to watch Mouse Hunt. That poor little girl…those little dinosaurs traumatized for a long time. Ever since then, I have been very averse to horror films. I just wouldn’t watch them. I would avoid them at all costs.
But as I grew into a bigger cinephile, I felt like I could avoid a whole genre of film. There were classic films that I felt like I had to see.
But where to start with a new genre?
Do you go straight for the big classics? Do you go for some films based on word of mouth that might be easier to get into? Do you try out contemporary films and work your way back?
Horror is such an eclectic genre with very specific subgenres as well. So much to choose from! There is the atmospheric horror of say The Shining and A24’s slate. You can go with monster films like The Thing (which has plenty of paranoia-driven suspense as well) or the laundry list of old Universal classics and Hammer horror. There is the ever successful slasher sub-genre with so many iconic killers. I certainly had my work cut out for me when it came to diving into horror. Now I have become quite versed in all types of horror (still quite adverse to the likes of Saw and Hostel but I do not know if I will ever really get into them) but the ones that really connect with me are the classics. Today, there are still some great films that advance the genre but I have a soft spot for some of the trend-setting films of yesteryear. My two favorites are definitely The Shining and The Thing (not surprising that I have already mentioned them before). But there are some other great flicks from The Exorcist and Jaws but we are here to discuss another standout of the 1970s. We are here to discuss The Omen (1976).
But what makes The Omen (1976) stand out still as a film 45 years after its initial release?
Building off of the mainstream momentum of The Exorcist a few years earlier, tackling religious-based horror became a huge subgenre. The supernatural possession and devil-influenced stories are still a big hit today (no need to look further than The Conjuring and all of its sequels and spinoffs). There are plenty of films coming out now about possession (The Conjuring: The Devil Made Me Do It) and evil children (Son). That is why it is so interesting taking a look back at films that set the stage. But let’s dig deeper into this classic horror film from director Richard Donner.
Why is this film so eerie and unnerving?
So much of it is in the direction. Donner is a talented filmmaker who has made a career of doing a variety of films and genres. Lethal Weapon…Superman…Scrooged…The Goonies…what a resume!
Donner has shown that has could inhabit genre tropes and do fun things with them. He does that very thing with The Omen (1976).
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You can definitely feel the influence of The Exorcist…the religious iconology that adds layers of superstition and haunting nature to the narrative. Who wouldn’t be freaked out by a plot centered around the spawn of Satan? Speaking of…HOW CREEP IS THAT KID? The way that Donner shoots Damian with Dutch angles, unnatural lighting, and holding until devious smiles crossed his face is quite freaky. There is a foreboding energy every time the camera turns towards Damian.
Throw in the Rottweiler and the creepy governess and we have ourselves a scary and unholy trinity in this film. The uncomfortable scenes of animals fleeing from Damian’s presence are supported effectively (especially the scene with the monkeys from the zoo). The imagery of priests and hold grounds makes for the cherry on top of this frightening roller coaster ride of a film. The way in which the particular scene that the devil comes for Father Brennan is so great with the storm that comes out of nowhere. The tension and manic environment that Donner can capture are so impressive. The wind…the lightning…the imagery of a priest dead on a pike…yup…that will definitely do it.
But what can possibly be creepier than all of the imagery that Donner is able to bring into the film?
The score…from Jerry Goldsmith…enough said. Well…I won’t leave it at that because I really want to gush about the score. Nothing is creepier than religious chanting in Latin.
No…there is no argument here. This traditional religious style of the chants is soiled and given an edge that is both unexpected and shocking. This score is seriously next level freaky which is so perfect for this film. The tone is matched perfectly with the boisterous yet deeply holy singing on the tracks. The most frightening scenes are matched with these pieces which only reinforces the themes, motifs, and tone of the film. The music swells with creepy strings and organ playing which only causes radical reactions to the horrifying turns of the narrative.
The music of this film really helps The Omen (1976) transcend its place as a copy of The Exorcist to define its own classic legacy.
Sure…the imagery and music are straight terrifying…but how do we feel connected to the film?
The fact they could land a legendary actor of the caliber of Gregory Peck. Yes…that Gregory Peck. He always delivers presence and emotion in any role. This is Atticus Finch you know. How can we not root for him?
We know Harvey Stephens is quite creepy in every scene as our little Satan-to-be. But what is really shocking about this film?
Lee Remick has a chance to shine with plenty of tension and energy. Her emotional meltdowns are essential to building sympathy for this family. But what can they do? They have the power of Satan on their side. Throw in an unnerving and manipulative performance from Billie Whitelaw as the woman watching Damian and we have a show. But even more than that, we have a frightening group of characters to drive the tension. Throw in David Warner who gives a fine performance and we have an effective cast.
But what is the most important part of horror films?
The scares…of course. The idea of foreshadowing photos was such a great addition with the looming doom added into the mix. The film sets you right up with the woman hanging herself from the roof all for Damian which hits so unexpectedly the first time you watch it. Some of the practical effects may have had better times but they still work well in staging some incredibly disturbing deaths (pikes and glass panes are definitely dangerous). The revelations of what really happened with the unholy adoption of Damian bring things to a whole new level (even with some overly expositional dialogue for good measure.
But when it really comes down to it, why does The Omen (1976) stand the test of time?
The religious nature of the film will always hit a chord for so many. The ideas of faith and religion are quite important to so many that they can really work. The performances are strong with an A-Lister like Peck doing his thing. We have an all-time great score full of suspense and fear. To be frank, I wish there more films like it that can do so much right for the horror genre.
Sure…it is not perfect. Sure…it is not The Exorcist. But does it have to be? No…it just needs to be The Omen (1976).
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