{"id":5594,"date":"2024-04-26T09:41:25","date_gmt":"2024-04-26T15:41:25","guid":{"rendered":"https:\/\/www.patheos.com\/blogs\/watchinggod\/?p=5594"},"modified":"2024-04-26T09:41:25","modified_gmt":"2024-04-26T15:41:25","slug":"the-omen-works-the-first-omen-fails-heres-why","status":"publish","type":"post","link":"https:\/\/www.patheos.com\/blogs\/watchinggod\/2024\/04\/the-omen-works-the-first-omen-fails-heres-why\/","title":{"rendered":"‘The Omen’ Works. ‘The First Omen’ Fails. Here\u2019s Why."},"content":{"rendered":"\n<\/head>

<\/a>

Harvey Spencer Stephens from The Omen, screen shot from the 20th Century Studios trailer<\/em><\/figcaption><\/figure>\n<\/p>

When The First Omen<\/em> crawled into theaters this month, it arguably scared up more press than people. Perhaps it could\u2019ve learned a thing or two from its nearly 50-year-old forebear.<\/p>\n

Critics have been kind to The First Omen<\/em> (giving it an 81% freshness rating on Rotten Tomatoes), and it earned a level of notoriety for a disturbing birthing sequence that nearly garnered it an NC-17 rating<\/a>. But despite the praise and some fine performances (especially from Nell Tiger Free, who plays a well-meaning novitiate), it\u2019s not done particularly well at the box office.<\/p>\n

Since its April 5 release, The First Omen<\/em> has earned just $18.2 million in North America\u2014less than any other film in the Omen<\/em> franchise. And while it\u2019ll surely collect a little more cash in the weeks to come, the new fright flick won\u2019t come within screaming distance of the $60 million the original Omen<\/em> earned in 1976\u2014the equivalent, incidentally, of around $330 million today.<\/p>\n

Why did The Omen<\/em> click with audiences in 1976, whereas The First Omen <\/em>faltered? Let\u2019s look at the original and see.<\/p>\n

<\/a>

From The Omen, screen shot from the 20th Century Studios trailer<\/em><\/figcaption><\/figure>\nThe Story<\/strong><\/h2>\n***
** The First Omen<\/em> is intended to be a direct prequel to the original film\u2014one wherein we see the conception and birth of Damien, the franchise\u2019s evil antichrist, circa 1971.<\/p>\n
** The First Omen<\/em> requires some tortured storytelling to line up with the original. But the finale of the new movie does serve as a bridge to The Omen<\/em>. We\u2019re even introduced, via dossier, to The Omen\u2019<\/em>s main character, Robert Thorn\u2014complete with a picture of the actor who played him (Gregory Peck). And at the end of the film, we see some deviant Catholic clergy plot to replace Robert\u2019s newly born (and newly murdered) son with Damien.<\/p>\n
** Jumping into The Omen<\/em> proper, we meet Robert as he grieves over his lost son. A priest and a nun essentially offer the hearbroken Robert a replacement baby\u2014one whose mother died in childbirth. Robert\u2019s wife, they promise, never even needs to know that the child is not hers. A grateful Robert\u2014knowing Katherine would be devastated about losing her baby\u2014accepts the boy and the lie that goes along with it.<\/p>\n
** Most of The Omen<\/em> takes place five years later\u2014fittingly, in 1976. Robert Thorn is the U.S. Ambassador to Great Britain, and he lives in a cavernous house with his beautiful wife, Katherine (Lee Remick) and that cute, rascally, now five-year-old son (played by Harvey Spencer Stephens).<\/p>\n
** Too good to be true? You bet it is. Damien\u2019s nanny hangs herself. A replacement nanny mysteriously arrives\u2014along with a fairly terrifying Rottweiler. Robert\u2019s soon accosted by a priest who encourages him, repeatedly, to start taking Christianity seriously.<\/p>\n
** \u201cYou must take communion,\u201d he says. \u201cDrink the blood of Christ and eat His flesh. Only if He is within you can you defeat the son of the devil.\u201d<\/p>\n
** \u201cI \u2026 see,\u201d Robert tells him, shortly before kicking the priest out of his office.<\/p>\n
** ***But as the movie draws on, Robert does<\/em> see. As Robert\u2019s joy is taken from him, bit by agonizing bit, and after uncovering the body of a jackal where Damien\u2019s dead mother should be (a discovery that The First Omen<\/em> unconvincingly strained to explain), the ambassador slowly comes to a horrific suspicion: His kid just might be the antichrist.<\/p>\n

<\/a>

Holly Palance from The Omen, screen shot from the 20th Century Studios trailer<\/em><\/figcaption><\/figure>\nThe Chills<\/strong><\/h2>\n*******
** The Omen<\/em> comes with a ton of disturbing undercurrents\u2014not the least of which pokes at one of humanity\u2019s most important and most revered relationships: That of a mother and a child.<\/p>\n
** Listen, children are fantastic. But even the best can also feel like little demons at times. When they\u2019re banging on pot lids for two hours straight or shouting not-very-loving words at you for suggesting they eat a carrot, we might wonder whether someone switched our child with an alien doppelganger.<\/p>\n
** The Omen<\/em> plays on those fears with creepy dexterity: Katherine begins to feel there\u2019s something very, very wrong with Damien\u2014joining a whole host of moms who, perhaps secretly, harbored those same fears. But in Katherine\u2019s case, she\u2019s absolutely right.<\/p>\n
** Good horror stories are predicated not on what you do see, but on what you don\u2019t. Jaws slides unseen in the water. An alien hides in the bowels of the Nostromo in Alien. In The Omen<\/em>, it\u2019s the story itself that lurks in the shadows. The mechanizations are cloaked, the truth is hidden. No,<\/em> its characters say, that\u2019s preposterous!<\/em> But then the truth comes out of hiding and we\u2019re forced to ask a terrible question: What to do about it.<\/p>\n
** *******The First Omen<\/em> has some nice, atmospheric moments of unease. It, too, keeps plenty of secrets hidden in the shadows. But all too often, it resorts to jump scares and gross-out moments that aren\u2019t just unnecessary, but rob the film of some of its potential.<\/p>\n****

<\/a>

Gregory Peck from The Omen, screen shot from the 20th Century Studios trailer<\/em><\/figcaption><\/figure>\nThe Timing<\/strong><\/h2>\n*********
** The Omen<\/em> was not universally embraced upon release. But it landed during a time in which the cinematic soil seemed particularly receptive to this seed.<\/p>\n
** The tumultuous 1960s and early 1970s were still quite fresh in the minds of Americans, when some wondered whether this great nation was teetering on the edge of anarchy. The world itself seemed to be growing ever more chaotic.<\/p>\n
** Clearly, the promise that technology would save all our problems\u2014a mindset embraced throughout the 1950s\u2014had long since disintegrated. Social unrest reminded people of both the nation\u2019s persistent inequality and its fragility. Political scandals culminating in Watergate undercut faith in some of our most respected institutions. And the flower children who claimed the answers could be found in love, peace, music and drugs? That proved to be, somewhat literally, a pipe dream.<\/p>\n
** Is it possible that we\u2019d lost our way?<\/em> Many asked. That we\u2019d been turning to false hopes and away from God? Was it possible that this had been foretold long ago?<\/em><\/p>\n
** Author Hal Lindsey had dropped his bestselling The Late Great Planet Earth <\/em>into that counterculture maelstrom in 1970, and the book was still going strong years later. The book introduced millions of Americans to dispensational eschatology\u2014or, in other words, a very literal reading of the Bible\u2019s most prophetic books, especially that of Revelation. In an age when a lot of Americans believed that the world might be going to you-know-where in a handbasket, Lindsey essentially said, \u201cYou don\u2019t know how right you are.\u201d<\/p>\n
** *********Our own age is no less confusing and unsettling as 1976 was. But it\u2019s a more secular one, too\u2014something that the makers of The First Omen<\/em> leaned into perhaps a bit too much.<\/p>\n

<\/a>

Patrick Troughton from The Omen, screen shot from the 20th Century Studios trailer<\/em><\/figcaption><\/figure>\nSpiritual Hope<\/strong><\/h2>\n***********
** The Omen<\/em> embraces dispensationalist themes throughout, mixing biblical prophecies with scriptwriter David Seltzer\u2019s own inventions (most prominently a poem that includes the lines, \u201cWhen the Jews return to Zion and a comet rips the sky and the Holy Roman Empire rises, then you and I must die\u201d).<\/p>\n
** That\u2019s not exactly a poem you\u2019d stitch on a pillow. And The Omen<\/em> is hardly a happy-go-lucky film. But those dispensationalist themes (which went from a pretty fringe idea even within Christianity and into the mainstream), unpacked in the wake of such a fractious time, came with a curious undercurrent of hope: In a chaotic, seemingly senseless world, at least a few<\/em> entities knew what was going on.<\/p>\n
** And that, I think, helped The Omen<\/em> succeed\u2014both aesthetically and commercially. It understood that there were forces outside our own understanding at work here. And while the devil was the most obvious player, God\u2019s own servants are there in the movie, too. The supernatural has power\u2014from the priest\u2019s pleas that Robert become a Christian to Damien\u2019s own terror of church.<\/p>\n
** And as such, Robert\u2019s own discovery of faith\u2014under, admittedly, great and horrific pressure\u2014might serve as a metaphor for perhaps our own secular comfort, which helps the movie still feel surprisingly relevant.<\/p>\n
** Robert is smart and powerful. He has what would appear to be an idyllic home life. When Robert asks wife Katherine if she\u2019d tell him if something was wrong, she says, \u201cWhat could be wrong with our child, Robert? We\u2019re beautiful people, aren\u2019t we?\u201d<\/p>\n
** But something is wrong. And to right it, Robert slowly comes to understand that his wealth and power and intellect won\u2019t do. He needs to look beyond his own strength.<\/p>\n
** ***********But even though The First Omen<\/em> is also a supernatural horror film\u2014one where Satan\u2019s reality is presented as a terrible fact\u2014the film leans not into God, but into humanity.<\/p>\n****

<\/a>

Sonia Braga from The First Omen, screen shot courtesy the 20th Century Studios trailer<\/em><\/figcaption><\/figure>\nThe Problem<\/h2>\n*************
** Sure, Margaret, the movie\u2019s central character, loves God, and she loves the Catholic Church\u2014so much so that she\u2019s looking forward to becoming a nun. And the film pays lip service to good believers everywhere. \u201cThere are two churches,\u201d someone tells her. \u201cOne follows God. And the other follows something else.\u201d<\/p>\n
** But The First Omen<\/em> focuses almost solely on that something-else<\/em> church, which uses fear as a means to control its flock. Prayer is shown as completely ineffective. The enemy isn\u2019t so much Satan here as the corrupt church itself \u2026 and we see precious little evidence of any part of the church that isn\u2019t<\/em> corrupted.<\/p>\n
** *************The makers of The First Omen<\/em> seemed remarkably uninterested in exploring spiritual themes. Tim Smith, the movie\u2019s co-writer and executive producer, says as much.<\/p>\n****

\u201cI think the Catholic Church wielded a different kind of power and influence,\u201d he told Variety<\/a><\/em>, \u201cso we used this film as an opportunity to speak to institutions in power and how they respond to fear, how they cling to that power under threat, about the dangers of ideology, about patriarchal institutions, to turn a mirror to the horrors of our time. We were using religious horror as a means of tapping into other fears that resonated with us.\u201d<\/p>\n

It\u2019s illustrative that, in a climactic scene, a priest asks Margaret if she can hear God\u2019s voice inside her. No<\/em>, she tells him. I can only hear my own. <\/em><\/p>\n

In our increasingly secular culture, that message is hardly surprising. But it does feel out of place in a supernatural horror film, where signs and prophecies and literal demons are everywhere.<\/p>\n

If the Omen<\/em> franchise means a true return to form, it can\u2019t just pay homage to the original\u2019s aesthetics or mimic its most famous scenes: It needs to understand that, in this supernatural series, human strength and understanding isn\u2019t the answer: It\u2019s part of the problem.<\/p>\n

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