His day has come….and gone, but was it that big of a deal?
Damien: Seamus Davey-Fitzpatrick
Katherine Thorn: Julia Stiles
Robert Thorn: Live Schreiber
Cardinal Fabretti: Carlo Sabatini
Father Spiletto: Giovanni Lombardo Radice
Damien (2 Years Old)-Tomas Wooler
Damien-Newborn: Baby Zikovas, Baby Morvas, Baby Muller, and Baby Litera
Keith Jennings: David Thewlis
Father Brennan: Pete Postlethwaite
Mrs. Baylock: Mia Farrow
Bugenhagen: Michael Gambon
Directed By: John Moore
Release Date: June 6, 2006
Running Time: 110 minutes
Rated R for disturbing violent content, graphic images and some language
The definition of a remake in cinema is as follows: a newer version of a previously released film, or a different interpretation of whatever the original film was based on. It could be a novel, comic, musical, and so on. For me, a good remake must include some specific elements: 1)it must be true to the original, 2)it must have significant plot and character alterations, and 3)the actors and crew must instill and expand on the same emotions, excitement, and suspense for new and older audiences. The Omen is based on the 1976 film of the same name, and according to my list it covers 2 out of the three points, which is not bad. The missing factor is number 2. The plot and character changes are extremely minor and hard to spot. This updated horror flick is almost an exact replica of its predecessor, but nonetheless still as devilishly chilling as the first. It is like identical twins. You know there is a difference between them, but it just takes some time figure out.
The story goes opens at the Vatican Observatory as some startling prophecies are being fulfilled. Meanwhile, Robert Thorn has just learned that his child died during birth. His wife Katherine is fine, but she is unaware of the dreadful news. In order to prevent her from discovering this heartbreaking misfortune, a priest convinces him to take another child, whose mother has died, in as his own. Mr. Thorn then goes on with his life, and raises his son Damien along with his wife. After his boss tragically dies, he becomes the United States Ambassador for England. With this newfound wealth, he moves to that country, and is able to give Damien all the gifts a boy could want. All seems to be going well for the Thorns until Damien's 5th birthday rolls around and the family nanny hangs herself as a present for Damien. Katherine Thorn begins to suspect that something could be wrong with her son. He throws a violent tantrum while driving to church, and the animals at the zoo seemed to act incredibly strange around him. Robert Thorn then receives strange visits from a priest, who urges him to take action against his son, who is the Antichrist.
What will make or break this remake for many viewers is the question of what leading man one would rather watch. Gregory Peck or Liev Schreiber. Unfortunately, Mr. Schreiber loses this contest. That is not to say his performance is not as faithful and intense as Pecks' because Schreiber brings a younger and slightly more emotional Robert Thorn to the front, regardless of the dialogue being copied word for word. What causes Peck to be superior is simply his status as an actor, which is obviously much more established. Both men have trouble believing these theories about Damien, and both men are believable politicians.
Julia Stiles is terrific as Katherine Thorn, and to be honest she is a better actress than Lee Remick. Stiles is much more attractive, and more exciting to watch. Mia Farrow is a bit creepier than Billie Whitelaw as the evil nanny Mrs. Baylock. Furthermore, I am a big fan of David Thewlis, and he portrays photographer Keith Jennings with marvelous charisma. Without a doubt, Seamus Davey-Fitzpatrick is one of the scariest toddlers in cinematic history. Harvey Stephens (the original Damien), now all grown up, makes a small cameo appearance as a tabloid reporter. Fitzpatrick leaves Stephens in the dust in terms of that cold long glare and piercing eyes.
In case you haven't noticed by now, this is basically a compare and contrast game with the two films, because anyone who has seen the 1976 flick will experience constant déjà vu. Jerry Goldsmith's score was a worthy Oscar win back then, but Marco Beltrami introduces this new score as passably forceful, reasonably equal, and less juvenile than most horror recreations. Gus Van Sant's 1998 remake attempt at Psycho was precisely the same in every way to Hitchcock's masterpiece, but that remake lacked chemistry, confidence, and numerous other aspects. No one can mess with Alfred Hitchcock, nobody. Director John Moore (Flight of the Phoenix, Behind Enemy Lines) uses a shot by shot experiment appropriately with his Omen due to Richard Donner having much smaller shoes to fill. It is refreshing in this day and age since moviegoers are so used to horror remakes being an inevitable pathway to disaster suing special effects, unnecessary nudity, and unqualified performers.
The same faults I had with the original are still present 30 years later. I wanted more of Damien in both films. He is scary and intriguing, but towards the end, his presence is not felt as profoundly. Some sequences are tweaked and tugged around. For instance the initial hanging scene with the nanny is faintly different because the nanny hits the side of the house instead of crashing through the window. Am I nitpicking? Perhaps, but the sight of a body smashing through glass has a more terrifying effect. A couple of the deaths have a humorously novel Final Destination feel to them. One part that bothered the hell out of me was the dogs. We see one dog as the first nanny spots it, but when a dog is seen growling in Damien's room, it is clearly not the same dog. Who missed that detail?
Admit it, the crew was darn clever for releasing this on 6/6/06. However, I fear that particular release date was the only thing occupying their minds. This new Omen does indeed lack any inventiveness, besides some boring dream sequences used as cheap scares, but it remains a competent and polished fright fest. Viewers meeting Damien for the first time will most likely be desperate for more bloodshed, but here, the sight of blood means something for a change. The villains are demonic, the locations are hair-raising, and all in all, this little hellion takes the audience for a sadistically entertaining ride.
The 411: Those who are die hard lovers of the original who no doubt hate this with every fiber in their being and state that the release date is the only reason for making it, but my response would be, chill out. I prefer the first one, but make no mistake; this edition has some acceptable modifications. With Richard Donner’s Omen being re-released on DVD with added special features later this month, I would say just go buy that. If that is too much money to spend, this new rendition is at least worth seeing.
