THE OMEN TRILOGY (1976, 1978, 1981)

ONE OF THE ALL-TIME GREAT HORROR TRILOGIES

A BLOODY ASYLUM SPOILER-FREE RETRO-REVIEW

“Let him that hath understanding count the number of the beast: for it is the number of a man, and his number is 666.”

THE OMEN (1976)

Arriving in the wake of the huge box office success of a few years earlier of THE EXORCIST, and while over the decades losing some of its impact in comparison, THE OMEN is one of the most acclaimed and influential movies of the 1970s. Spawning 3 sequels, the recent series DAMIAN, and countless imitations. Produced by Harvey Bernhard who would go on to give us THE LOST BOYS (1987) and THE GOONIES (1985).

Mysterious deaths surround an American ambassador. Could the child that he is raising be the Antichrist? The Devil’s son?

Powered by an always understated, commanding Gregory Peck, backed up by a stellar main cast of Lee Remick, David Warner, Patrick Troughton, Billie Whitelaw, and Leo McKern. Magnificently directed by one of the overlooked greats Richard Donner (why did he not make more horror movies), from David Seltzer’s wonderful script, creating biblical passages that sound as if they come from the bible but are in fact not, further grounds the movie. He gives the actors great material to work with who stay this side of being melodramatic. The unforgettable set-pieces are not merely there for shock, yet do, but serve the narrative and character arcs. Jerry Goldsmith’s Oscar-winning score sets the tone and plays a huge part in elevating the entire film from the very first.

The Disney+ UK re-master downside is that the image is sharp but, particularly noticeable in the graveyard scene is the excessively lighter tone and is debatable if this would have been the intention of Donner and cinematographer Gilbert Taylor.

THE OMEN, although nowadays slightly overshadowed by the far more effective THE EXORCIST, it is still one of the very best horror movies in cinema history that moulded my love of the genre.

DAMIEN: OMEN II (1978)

On the back of the huge box office success of THE OMEN it came as no surprise two years later a sequel was released. Before even seeing it in the early 80s on home video it made a massive impression on the young teenage me with posters, trailers, and photos in film magazine articles. Frustratingly I was unable to watch it at the cinema due to the X (18, R) rating.

So onto the film itself.

Damien, now about to turn thirteen years old, finally learns of his destiny under the guidance of the disciples of Satan. Meanwhile, dark forces begin to eliminate all those who suspect his true identity.

Now while it is very enjoyable and convincingly continues the story it does have issues.

Chiefly, unlike the original, it feels rushed in the pacing. The problem was twofold. Primarily David Seltzer who wrote the first movie had no interest in a sequel which led to producer Harvey Bernhard creating the story and then the script was written by Stanley Mann. Secondly, director Mike Hodges (GET CARTER), who wrote the first screenplay, was replaced early in production by Don Taylor.

Nevertheless, for its faults, there is a lot still to be impressed by. In the first instance, the first-rate cast all deliver outstandingly with what they had to work with. Top-lining William Holden who turned down the role of Damian’s adopted father Robert Thorn (Gregory Peck) in the first film, this time playing his brother Richard. Co-star Lance Henrikson has stated he was frustrated many of his scenes that fleshed out his character were cut, which highlights that it seems to have been the case with many of the characters. Herein lies the problem. None are more than surface, unlike with THE OMEN. However, Jonathan Scott-Taylor is impressive as Damien, bringing believable depth and character arc as he gradually embraces who he is – in no small part due to being the best written of the characters. His scenes with Lucas Donat as Damien’s cousin Mark are a real high point.

The memorable set-pieces are on par with those of the original, but due to the lack of fully formed characters have less of an emotional impact. Not helped by events playing out in the daylight, which in horror is always difficult to make effective. A real highlight yet again is, not unsurprisingly, Jerry Goldsmith’s evocative score.

The drawback with the Disney+ UK remastered version is the sadly cropped image from the original theatrical and physical home video releases.

DAMIEN: OMEN II ends up being a follow-up that in some aspects satisfies, but in others is lacking. With less focus on quickly delivering another film, it could have been a great sequel to THE OMEN rather than just good.

THE FINAL CONFLICT, aka OMEN III: THE FINAL CONFLICT (1981)

And so we reach the final instalment of the original trilogy released three years later. Although never reaching the heights of THE OMEN upon this re-watch since the last time well over 10 years it reveals itself to be far more satisfying than DAMIEN: OMEN II.

The now adult Damien plots to eliminate his future divine opponent while a cabal of monks plots to stop him.

The greatest asset here is Sam Neil as Damien. In his first lead in a Hollywood film, he grabbed the chance with both hands and gave a magnetic, charismatic performance that stays just the right side of over the top. Making it believable that his disciples would follow him and do his bidding without question. Rosanno Brazzo is the standout of the supporting cast as the leader of the group of monks.

For the most part, assuredly written by Andrew Birkin and confidently directed by Graham Barker, there is a return to the far more gripping, suspenseful aesthetic, and more rounded characters of THE OMEN, with effective set-pieces that at times rival it. And again a fantastic Jerry Goldsmith score to elevate proceedings.

For pretty much most of the runtime, the narrative works, but is let down by the unexpectedly rushed and underwhelming final act in which key aspects set up in THE OMEN were forgotten. Had they been utilised correctly it would have made for a far more satisfying epilogue.

While THE FINAL CONFLICT has faults the positives outweigh the negatives and make for an entertaining end to the trilogy.

The three films as a whole is a series that, while among my favourite films, with some refinement of the sequels could have been a cinematic triumph rather than a tantalising what could have been.

CHECK OUT THE ORIGINAL THEATRICAL TRAILERS COURTESY OF SCREAM FACTORY:

THE OMEN: