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Gregory Peck squares off against the Antichrist in this popular horror-thriller from director Richard Donner (Superman, Lethal Weapon). Peck plays the American ambassador to England and a good friend of the president. When we first meet him, he’s grieving his stillborn son at the hospital. He’s offered the chance to adopt a newborn whose mother died in labor. He agrees, keeping the switch a secret from his wife (Lee Remick). But as young Damien approaches his sixth birthday, strange things begin happening. The nanny hangs herself in front of a birthday gathering, Damien throws a violent fit when they try to bring him to church, and a mysterious priest (Patrick Troughton) warns Peck that Damien is dangerous. With the help of a newspaper photographer (David Warner) who stumbles upon some supernatural clues, Peck travels to Rome to uncover the identity of Damien’s mother. There he learns the horrible truth that Damien is the Devil reborn, and that he’ll have to kill the child to save humanity from the scourge.
The Omen is an engrossing, dramatic horror film with a tight screenplay and confident direction. Peck carries the film with his balance of strength and vulnerability, determination and doubt. Remick has little to do but be repeatedly victimized, but Billie Whitelaw is memorable as Damien’s fiendish replacement nanny, a dark force sent to work against Damien’s adoptive parents. Young Henry Stephens doesn’t have to do much acting as Damien, but Donner gets some hauntingly diabolical, shit-eating grins out of the lad. The film features a handful of shocking deaths that are among its most memorable scenes, in some way serving as a classier studio version of the low-budget slashers that would spring up in its wake. Maestro Jerry Goldsmith won his sole Academy Award (hard to believe, isn’t it?) for his masterful score, combining full orchestra with coral chanting, whispering, and moaning. His opening and closing chant, a Black Mass titled “Ave Satani,” was even nominated for Best Song.
Written by David Seltzer. With Martin Benson, Holly Palance, and Leo McKern.
Academy Award: Best Score (Jerry Goldsmith)
Oscar Nomination: Best Song (“Ave Satani”, Jerry Goldsmith)