Damien the Antichrist, now thirteen years old, finally learns of his destiny under the guidance of an unholy disciple of Satan. Meanwhile dark forces begin to eliminate all those who suspect the child's true identity.
A young couple moves in to an apartment only to be surrounded by peculiar neighbors and occurrences. When the wife becomes mysteriously pregnant, paranoia over the safety of her unborn child begins to control her life.
There is panic throughout the nation as the dead suddenly come back to life. The film follows a group of characters who barricade themselves in an old farmhouse in an attempt to remain safe from these bloodthirsty, flesh-eating monsters.
Robert and Katherine Thorn seem to have it all. They are happily married and he is the US Ambassador to Great Britain, but they want nothing more than to have children. When Katharine has a stillborn child, Robert is approached by a priest at the hospital who suggests that they take a healthy newborn whose mother has just died in childbirth. Without telling his wife he agrees. After relocating to London, strange events - and the ominous warnings of a priest - lead him to believe that the child he took from that Italian hospital is evil incarnate.Written by
The movie was originally going to be called "The Birthmark", but a good chunk of the movie was filmed on location in Italian maternity wards, (for the beginning of the movie when Kathy gives birth in Rome). The crew would put up signs saying "Filming the Birthmark," and the women patients there would complain that they didn't want any mention of birthmarks in their maternity ward, for fear of bringing bad luck. The crew then started to change the signs to "Filming the Omen" just as a temporary measure. But then the new name seemed to stick--and they ran with it. See more »
When the taxi driver in Rome first exits the cab, his finger is bandaged. A minute later, it has no bandage. See more »
The child is dead. He breathed for a moment. Then he breathed no more. The child is dead. Dead. The child is dead.
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Closing credits epilogue: "Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is 666."
Robert Thorn the American ambassador to Great Britain watches his wife's pregnancy when a priest tells him that his newborn has died, but he convinces him to substitute the baby (the wife not knowing) with another child that lost its mother in labour at the same time. Watching their young child growing up, he starts show unnerving signs, which the parents slowly start picking up on and also bizarre tragedies start occurring. This leads Robert on a whirlwind investigation that all points to his son being the Anti-Christ.
Right off the heals of 'The Exorcist' successful stint with moviegoers comes another one of those endless 70s religious themed horror flicks involving Satanism. 'The Omen', I'd definitely say is one of the better horror films in the shadow of "The Exorcist', but I'll even go to say its an vast improvement over it's influencer. That might be a surprise for some, but I found this film superior as it was more entertaining, fascinating and truly creepy in its context and shocks. Everything about it has a knack for falling into place. From the impending doom that's achieved by its coldly layered atmosphere to a premise that teases the viewer on how it's all going to play out. I won't deny that it seems silly enough when you pay close attention to it all, but with such conviction in the performances and that off confident direction, these factors makes sure that it doesn't slip overboard into cheesy daftness. Another stroke of brilliance would be Jerry Goldsmith's memorably, nerve-wrecking score with those explosive chants scattered throughout.
On a grand scale the film was efficiently catered with well established cinematography and polished set-pieces that had penetrating might, which director Richard Donner handled with precise skill. Even when there wasn't much happening he knew how to keep things compellingly tight with good pacing and impressible imagery. Though, when it came to the essential thrills, he caps off some remotely tense (dogs' attack) and macabre moments (infamous decapitation) that display bite and flair. The climax is great and the ending is a fitting imprint too. The plot is filled with shocking revelations, interesting characters and it emits a glorious amount of excitement and dread from it mysterious outset.
The performances are that of top quality by a stellar cast. Gregory Peck and Lee Remick are convincingly excellent as Mr and Mrs Thorn. David Warner turns in a marvellous performance as the photographer Keith Jennings. Then Billie Whitelaw is genuinely creepy as Damien's nanny Mrs. Baylock. Patrick Troughton is superb as the withering Father Brennan. But my applause goes to Harvey Stephens' who's the epitome of evil well; he definitely looked the part and had a memorizing awe as Damien. Although, Peck deserves more credit really, as he brought such devotion to his character that we honestly feel the pain and confusion that hits home.
One of the true benchmarks of horror, along the same lines of 'The Exorcist', but for me it beats that film all ends up. Expect a devilishly good time!
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