To mark the 30th anniversary of “The Omen” (1976) and take advantage of the 6-6-06 release date, a remake of “The Omen” came out in 2006. Excepting those who reject remakes of great movies on principle, this was a treat for “Omen” fans.
The same but different
This is what the 1998 remake of “Psycho” should’ve been; it modernizes the film in intelligent ways and goes beyond a mere experiment. Director John Moore, working from the original David Seltzer screenplay, makes an “Omen” drenched (often literally) in Aughts horror style just as Richard Donner’s film is saturated with the Seventies vibe.
Moore is faithful to the narrative beats, yet he puts his own stamp on this project. The color palette features metallic blues early on but then mixes it up – for example, an angry red hue from firelight when Robert Thorn nabs Damien from his bedroom to take to the church.
“The Omen” (2006)
Director: John Moore
Writer: David Seltzer
Stars: Liev Schreiber, Julia Stiles, David Thewlis
Over six Tuesdays, RFMC is looking back at five films and one TV series in the “Omen” franchise.
Donner’s “Omen” borders on “daylight horror,” whereas Moore sets most scenes at night or in the rain. He gets almost amusingly cinematic at times – witness Richard Thorn’s (Liev Schreiber) conversation about the Bible with the photographer (David Thewlis). The coffee shop is seemingly in the middle of nowhere, and despite a light snowfall, they choose an outside table.
Moore does add some jump scares wherein someone inexplicably can’t hear someone right next to them. That’s a demerit. On the other hand, I like the quick, horrific images in Katherine’s (Julia Stiles) dreams.
A scary-good cast
In every case, “Omen” casts a 2006 equivalent to the 1976 actors, sometimes improving. Schreiber plays a savvy but ultimately vulnerable politician, and he has believable chemistry with Stiles. I imagine a modern-style courtship in their backstory, wherein they are equals; the ’76 version is of its time, with Katherine more of a victim.
Mia Farrow adds menace to Mrs. Baylock, particularly in a scene where it’s clear she is mentally guiding Damien (Seamus Davey-Fitzpatrick) to recklessly ride his scooter down the hallway.
Pete Postlethwaite gives a masterful turn as the morphine-addicted Father Brennan. Although Seltzer’s screenplay is mostly unchanged, I get a sense of Brennan’s tragic life here. He has a 666 birthmark, but – unlike Baylock – he fights his destiny as the Devil’s acolyte, to the detriment of his health.
The only actor who doesn’t get his due is Michael Gambon as Bugenhagen, who provides the daggers to kill Damien. Perhaps the opening sequence – wherein religious elders speak in a council about modern signs of evil – could’ve instead been a Gambon speech.
Some surprises
As it stands, that big-picture opening segment – one of the remake’s few narrative add-ons — is a weak start, as it delays our connection with Richard. But overall, I do like the film’s ridiculous bigness (see the Thorns’ three-story house).
Some fun is gleaned from new ways the deaths happen. It starts when the noosed nanny thuds against the wall rather than crashing through a window, but better re-imaginings happen later. The special effect on the photographer’s freak accident is particularly well done.
Of course, there is a cadre of filmgoers who believe perfect films should not be remade, and I’m guessing that’s a big reason why “Omen” (2006) rates a 5.5 on IMDb compared to the original’s 7.5.
Certainly, there’s a case to be made that Moore is standing on the shoulders of a giant; the film that did it first deserves to rank higher. And to be sure, “Omen” (2006) has nothing new to say – it’s the same screenplay, after all.
On the other hand, it’s quite an achievement to respect a classic while shooting it in a new way. 1976’s “Omen” is the definitive version, but this remake is a helluva fun addition to the franchise.