The Omen Remake – A Sneak Peek

The Omen does not need to be remade. I am not relying on fond memories when I say this — I just re-watched the 30-year-old original two days ago, from beginning to end.

The story follows the childhood of Damien Thorn, who was switched at birth with the murdered infant of an esteemed American diplomat and raised in poshest London. At first, Damien's adoptive parents are unaware that he is actually the son of Satan and is destined to become the Antichrist.

The Omen was among the last in an almost 10-year reign of "demonic child" horror films that began with Rosemary's Baby (1968), and peaked with The Exorcist (1973).

Having seen the original The Omen so recently, I must say it still holds up beautifully. It has the classic 1970s-era deliberate pacing, fewer edits and plainer look than today's M-TV-inspired, wisecracking, CGI dazzlers.

I like both styles of horror movies, as long as they're well done and entertaining.

I was fortunate enough to get a sneak preview of The Omen remake at director John Moore's production offices in Hollywood earlier today — I didn't see the whole movie, but I did view a solid seven scenes, and was genuinely impressed and mollified by what I saw.

While it's clearly not a shot-for-shot remake like, say, the Gus Van Sant version of Psycho, the scenes play out much the same as they do in the original The Omen. However, there is more panache and artistry to scenarios.

For example: in the famous scene when Damien's (newcomer Seamus Davey-Fitzpatrick) first nanny hangs herself at his fifth birthday party it's the same set up, but this time when she falls from the window tethered by a rope noose, she hits the side of the house hard, one of her shoes dangles from her toes, falls from several stories up, then hits and breaks the punch bowl, sending red liquid spilling.

In general, there's more set up and suspense to the scenarios — another example: when Thorn (Liev Schreiber) and Jennings (David Thewlis) pay a visit to the priest who arranged Damien's adoption, they don't just show up there. They are ferried across a lake that brings to mind a glassy River Styx; they're rowed in the canoe by a somber, hooded monk in white robes that compliment the falling snow; an aerial shot leads to the remote seminary where the mute, badly-burned priest awaits them. It's a lusher, prettier, artier looking pic than the original.

The Academy Award winning music of the original The Omen film, composed by Jerry Goldsmith, is indelible in many horror fans' minds. The score features a bold choral element with a sinister chant, "Sanguis bebimus, corpus edimus" (Latin for "We drink the blood, we eat the flesh"), punctuated with cries of "Ave Satani!" (Latin for "Hail, Satan!"). From what I heard this morning, the new music is quite a departure (though Goldsmith is credited with the "themes" on IMDb). Italian composer Marco Beltrami has a lot of genre movie experience, and I found his music for the 2006 version of The Omen effective without being overbearing.

I saw more of the movie and have a lot more impressions to share, but I'll hold those for my final review of the film.

Look for my exclusive interview with John Moore to be posted here soon, and more on the film as the 06-06-06 release date draws nearer.

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by Staci Layne Wilson