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Though having been a television director for many years, it would be
Richard Donner's breakout theatrical project, The Omen, which
would catapult him to the fame that would lead him to Superman: The
Movie only two years later. While the film might seem dated
to some, I find it to be quite entertaining, even though I view it as
belonging more to the thriller category than the horror one. The
effects still hold up (such is the
wonderful nature of mechanical origins before the computer took over)
and Gregory Peck is great as usual. It was disappointing to see
that the new version was nothing more than what Gus Van Sant did to
Psycho, but I guess if imitation if the sincerest form of flattery,
I can appreciate it in spirit if not in execution.
To be fair, a lot of what makes The Omen work
today is Jerry Goldsmith's score. In the hands of a lesser composer,
someone who would have stuck with the conventions of the genre, it is my
firm belief that this film would have been far less effective than it
is. There are plenty of horror staples here, but Goldsmith
approaches this less as a genre effort and more of a film that allows
him to express his ideas about the story in musical form. Even throughout its
horrific moments, The Omen also deals with the love of family.
Just because the child happens to be the spawn of a Jackal and is
possessed by Satan himself doesn't mean that there can't be happiness
for a few moments in the lives of mere mortals. The film is
effective in showing this, and Goldsmith takes it to the next level with
his love theme. While occasionally imbuing these cues with a hint of
menace, it is the full blown appearances of the theme which are the most
effective and provide the best contrast against the antagonistic music
that will overwhelm the last third of the score.
Goldsmith also rarely goes full out with the horror. Instead, things only go crazy when the chorus ramps up
into full "Devil Child" mode, and the build-up is so effective to these
moments that they are still entertaining. A lot of what Goldsmith did
with The Omen was to build the unease, so as things start to look
different and more sinister that what they would seem, Goldsmith is
right there building up the tension as subtly as possible until ready
to let loose. The barrage of orchestra and chorus elevates the
death scenes of the various characters who are done in by Damian and his
wily devil ways.
The orchestration by Arthur Morton is very well done,
and while there are a few electronic effects here
and there, Morton's work in layering in some more interesting elements
into the score goes far in giving the music its unique sound that, while
seemingly conventional, has instruments that are used in ways that sound
just a little "off", giving the last needed ingredient in
rounding out what is one of the best horror scores ever composed.
The Varèse Sarabande "Deluxe Edition" album is the way to
go for this score. With twenty tracks comprising just under fifty
minutes of music, this is the definitive release of Goldsmith's score.
With great sound quality and informative liner notes, Varèse has done an
outstanding job in presenting this score that way all classic film
scores should appear on disc.
Not being a big fan of most horror scores, I found The
Omen to be an incredible listen and one that modern composers would do
well to look to in crafting their own. Having been tired
of a genre that is known for little other than clashing orchestra or synth, it was a breath of fresh air to travel back in time and listen to
this timeless classic Jerry Goldsmith score. Regardless of your taste in
the genre, it comes highly recommended.
Reviewed on July 29, 2006 |
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