|The Omen (1976)|
|Starring:||Gregory Peck, Lee Remick, David Warner, and Billie Whitelaw|
Before turning the movie on and watching it for the first time in nearly a decade, I knew that I would have a slight bias towards the movie. As I mentioned above, The Omen was a film that I grew up watching. In the same way that Friday the 13th had never petrified me as a kid, neither did The Omen, but it was always a refreshing film to sit down and watch. I was always enthralled by it, and I loved it for introducing me to Gregory Peck. While sitting back down to familiarize myself with the movie, I did find certain segments within the movie to be rather dead, I can’t deny this. While watching it, I couldn’t help but wonder how other audiences, viewers who did not grow up watching the movie, might react to the pacing of the film. Yet, every time I started to let my mind wander, I found myself slowly falling back into the clutches of Donner’s growing tension. A tension that is built and highlighted by what is arguably one of the very best scores in film history. “Ave Satani,” by Jerry Goldsmith, is easily one of the most unnerving and over-the-top scores ever put to celluloid. Despite being a massive clashing of sounds that essentially scream “Danger!” to the viewer, Donner uses the score to great effect and only pulls out the big guns when necessary. Without this amazing score, what would this movie be? A shell of its self, to be sure.