This page will contain additional articles about The Omen, as they become available.The OmenDVD cover for The OmenThe Omen is a 1976 horror film directed by Richard Donner and starring Gregory Peck, Lee Remick, David Warner, Harvey Stephens, Billie Whitelaw, Patrick Troughton, and Leo McKern. The premise of The Omen comes from the end times prophecies of fundamentalist Christianity. Unlike the Left Behind series, this movie had no obvious evangelical intent and its reading of the prophecies is fairly superficial, using them only as a premise to unleash a supernatural menace on the hapless world. The story tells of the childhood of Damien Thorn, who was switched at birth with the murdered child of a wealthy diplomatic family. Damien's family is unaware that he is actually the offspring of Satan and destined to become the Antichrist. Spoiler warning: Plot or ending details follow.The Omen was memorable for its chillingly effective use of symbolism, such as the birthmark of the number 666 on Damien's scalp, the effective uses of crucifixes and statuary for foreshadowing, and the wallpapering of a room with pages from a Bible to ward off evil spirits. Some critics contended that the movie's attempt to portray apocalyptic symbology lacked a scholarly understanding of actual prophetic texts, and was written more for popular appeal. Nevertheless, the movie has chilled and terrified generations of viewers, which is the true test of time for a horror film. Early on, the movie boasted one of the most disturbing scenes in cinema as a character hanged herself at a birthday party attended by young children, with a look of joy on her face. An original score for the film was composed by Jerry Goldsmith, for which he received the only Oscar of his long career. The score features a strong choral segment, with a foreboding Latin chant. The refrain to the chant is, "Sanguis bebimus, corpus edimus" (trans. "We drink the blood, we eat the flesh"), interspersed with cries of "Ave Satani!" (trans. "Hail, Satan!"). Aside from the choral work, the score includes lyrical themes portraying the pleasant home life of the Thorn family, which are contrasted with the family's confrontation with evil. During the course of filming, the production was plagued with a series of "curses," which the crew suggested were perhaps supernatural forces trying to prevent the movie - the plane for scriptwriter David Seltzer was struck by lightning; Richard Donner's hotel was bombed by the Provisional IRA; Gregory Peck canceled a flight to Israel, only for the plane he'd chartered to crash, killing all on board. On the first day of shooting, the principal members of the crew survived a head-on car crash. Tagline: Good morning. You are one day closer to the end of the world. You have been warned. The Omen spawned several sequels.
Novels
The first Omen movie was based on a novel by the same name, also by Seltzer. Among the adaptations was a name-change for Damien's father (from Robert to Jeremy). The second and third novels were novelizations of their respective movies, and reflected movie continuity (for example, in the matter of the name change). The fourth novel, Omen IV: Armageddon was entirely unrelated to the fourth movie, but continued the story of Omen III. Its premise was that Damien Thorn's one-night stand with a journalist resulted in an act of sodomy, and thence the (rectal) "birth" of another diabolical entity called "the abomination" (presumably after the "abomination of desolation" from the book of Daniel). This novel attempted to patch one of the Omen series' more glaring plot-holes, namely the question of whether the antichrist could be slain by one of the seven "daggers of Megiddo" (which occurred in Omen III) or only by all of them (as stated in the first book and movie). The solution reached was that one dagger could kill Damien's physical body, but not his soul. This story was continued in the fifth novel, Omen V: The Abomination, which resulted in the death of that character. The name "Damien"The name "Damien" sounds somewhat like the English "demon," and is indeed etymologically related. Its primary reference however is to the daemon of Socrates, which was a positive moral force. Until the Omen series, the most prominent Damien would probably have been Father Damien of Hawaii, who died while establishing leper colonies there--a saintly rather than demonic figure. The success of the Omen series inspired Marvel Comics to revive the Son of Satan series, whose eponymous hero has the civilian name of "Daimon Hellstrom." Hellstrom, despite his ancestry, wielded his pitchfork for the side of good--at least until the end of his series, and a revival under the slightly-altered name of Hellstorm. Marvel Comics has reportedly promised not to revive the "Son of Satan" name, in response to pressure from Christians concerned about glorifying Satanism. This page about The Omen includes information from a Wikipedia article. Additional articles about The Omen News stories about The Omen External links for The Omen Videos for The Omen Wikis about The Omen Discussion Groups about The Omen Blogs about The Omen Images of The Omen |
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Marvel Comics has reportedly promised not to revive the "Son of Satan" name, in response to pressure from Christians concerned about glorifying Satanism. The novel became a best-seller in the United States 2004 after a recommendation by TV personality Oprah Winfrey. The success of the Omen series inspired Marvel Comics to revive the Son of Satan series, whose eponymous hero has the civilian name of "Daimon Hellstrom." Hellstrom, despite his ancestry, wielded his pitchfork for the side of good--at least until the end of his series, and a revival under the slightly-altered name of Hellstorm. Adaptations include:. Until the Omen series, the most prominent Damien would probably have been Father Damien of Hawaii, who died while establishing leper colonies there--a saintly rather than demonic figure. The novel has been filmed more than a dozen times. Its primary reference however is to the daemon of Socrates, which was a positive moral force. A public domain version of it is here (http://www.ccel.org/t/tolstoy/confession/confession.html). The name "Damien" sounds somewhat like the English "demon," and is indeed etymologically related. The Confession contains many other autobiographical insights into the themes of Anna Karenina. This story was continued in the fifth novel, Omen V: The Abomination, which resulted in the death of that character. For in the end what are we, who are convinced that suicide is obligatory and yet cannot resolve to commit it, other than the weakest, the most inconsistent and, speaking frankly, the most stupid of people, making such a song and dance with our banalities?. The solution reached was that one dagger could kill Damien's physical body, but not his soul. There is even one passage that could possibly be interpreted as a sign of Anna's eventual redemption in Tolstoy's eyes:. This novel attempted to patch one of the Omen series' more glaring plot-holes, namely the question of whether the antichrist could be slain by one of the seven "daggers of Megiddo" (which occurred in Omen III) or only by all of them (as stated in the first book and movie). (Another theme in Anna Karenina is that the aristocratic habit of speaking in French instead of Russian is another form of society's falseness.). Its premise was that Damien Thorn's one-night stand with a journalist resulted in an act of sodomy, and thence the (rectal) "birth" of another diabolical entity called "the abomination" (presumably after the "abomination of desolation" from the book of Daniel). 'Rien ne forme un jeune homme comme une liaison avec une femme comme il faut.'. The fourth novel, Omen IV: Armageddon was entirely unrelated to the fourth movie, but continued the story of Omen III. A dear old aunt of mine, the purest of creatures, with whom I lived, was always saying that she wished for nothing as much as that I would have a relationship with a married woman. The second and third novels were novelizations of their respective movies, and reflected movie continuity (for example, in the matter of the name change). Tolstoy also details the acceptability of adulterous "liaisons" in aristocratic Russian society:. Among the adaptations was a name-change for Damien's father (from Robert to Jeremy). Every time I tried to display my innermost desires – a wish to be morally good – I met with contempt and scorn, and as soon as I gave in to base desires I was praised and encouraged. The first Omen movie was based on a novel by the same name, also by Seltzer. He describes his real-life dissatisfaction with the hypocrisy of his class:. You are one day closer to the end of the world. In many ways, Anna Karenina was the most personal novel Tolstoy wrote up to that point. Tagline: Good morning. But one of the most prominent themes Tolstoy expounds upon in the novel is the relationship between love and honesty, both the different varieties of them as well as the different degrees to which they coexist, and the happiness that does or doesn't result. On the first day of shooting, the principal members of the crew survived a head-on car crash. He also draws contrasts between the peace and wholesomeness of the country and the decadence of urban society. During the course of filming, the production was plagued with a series of "curses," which the crew suggested were perhaps supernatural forces trying to prevent the movie - the plane for scriptwriter David Seltzer was struck by lightning; Richard Donner's hotel was bombed by the Provisional IRA; Gregory Peck canceled a flight to Israel, only for the plane he'd chartered to crash, killing all on board. Tolstoy skewers religious hypocrisy and insincerity in several characters, especially Karenin, Anna's husband, and the moralizing Countess Lydia Ivanovna. Aside from the choral work, the score includes lyrical themes portraying the pleasant home life of the Thorn family, which are contrasted with the family's confrontation with evil. Anna Karenina is filled with themes and imagery that illustrates Tolstoy's disdain of his aristocratic peers, and of a litany of human weaknesses. "Hail, Satan!"). So by the time Anna throws herself under a train at the end of the story, Tolstoy likely did not want readers to sympathize with her supposed mistreatment, but rather to recognize that her inability to truly commit to her own happiness or self-truth led to her ignominious end. "We drink the blood, we eat the flesh"), interspersed with cries of "Ave Satani!" (trans. The joyous, honest and solid relationship of Levin and Kitty is continually contrasted in the novel with that of Anna and Vronsky, which is marked by constant upheaval, backbiting, and suspicion. The refrain to the chant is, "Sanguis bebimus, corpus edimus" (trans. Levin tries unsuccessfully to fit into high society when wooing the young Kitty Scherbatsky in Petersburg; he wins her only when he allows himself to be himself. The score features a strong choral segment, with a foreboding Latin chant. Levin was a wealthy landowner from the provinces who could move in aristocratic circles, but who preferred to work on his estate in the country. An original score for the film was composed by Jerry Goldsmith, for which he received the only Oscar of his long career. But the novel contains the parallel and contrasting love story of Konstantin Levin. Early on, the movie boasted one of the most disturbing scenes in cinema as a character hanged herself at a birthday party attended by young children, with a look of joy on her face. A common way to interpret Anna's tragedy, then, was that she could neither be completely honest nor completely false, showing a Hamlet-like inner conflict that eventually drives her to suicide. Nevertheless, the movie has chilled and terrified generations of viewers, which is the true test of time for a horror film. Unable to accept Vronsky's rebuff, and unable to return to a life she hates, she kills herself. Some critics contended that the movie's attempt to portray apocalyptic symbology lacked a scholarly understanding of actual prophetic texts, and was written more for popular appeal. But when Vronsky's love cools, Anna cannot bring herself to return to the husband she detests, even though he will not permit her to see their son until she does. The Omen was memorable for its chillingly effective use of symbolism, such as the birthmark of the number 666 on Damien's scalp, the effective uses of crucifixes and statuary for foreshadowing, and the wallpapering of a room with pages from a Bible to ward off evil spirits. By falling in love, they go beyond society's acceptance of trivial adulterous dalliances. Damien's family is unaware that he is actually the offspring of Satan and destined to become the Antichrist. Petersburg society until she leaves her husband for the handsome and charming military officer, Count Vronsky. The story tells of the childhood of Damien Thorn, who was switched at birth with the murdered child of a wealthy diplomatic family. Anna is the jewel of St. Unlike the Left Behind series, this movie had no obvious evangelical intent and its reading of the prophecies is fairly superficial, using them only as a premise to unleash a supernatural menace on the hapless world. However, Tolstoy was both a moralist and severe critic of the excesses of his aristocratic peers, and Anna Karenina is often interpreted overall as a parable on the difficulty of being honest to oneself when the rest of society accepts falseness. The premise of The Omen comes from the end times prophecies of fundamentalist Christianity. The novel, set among the highest circles of Russian society, is generally thought by the casual reader to be nothing more than the story of a tragic romance. The Omen is a 1976 horror film directed by Richard Donner and starring Gregory Peck, Lee Remick, David Warner, Harvey Stephens, Billie Whitelaw, Patrick Troughton, and Leo McKern. And in the joys and fears of fatherhood, Levin at last develops faith in the Christian God. Gordon McGill, Omen V: The Abomination. (Futura, 1985). Some Russian volunteers, including Vronsky, who does not plan to come back, leave to help in the Serbian revolt that has just broken out against the Turks (see also History of Serbia, 1877). Gordon McGill, Omen IV: Armageddon. (Futura, ??). Stiva gets the job he wanted, and Karenin takes custody of Annie. (Futura, 1980). Part 8 continues the story after Anna's death. Gordon McGill, Omen III: The Final Conflict. (Tolstoy reportedly was inspired to write Anna Karenina by reading a newspaper report of such a death.). Joseph Howard, Damien: Omen II. (Futura, 1978). They plan to return to the country, but in a jealous rage Anna leaves early, and in a parallel to part 1, commits suicide by throwing herself in the path of a train. David Seltzer, The Omen. (Futura, 1976). Anna and Vronsky become increasingly bitter towards each other. Omen IV: The Awakening (1991, made-for-TV). Stiva, while seeking Karenin's commendation for a new job, again asks him to grant Anna a divorce; but Karenin's decisions are now governed by a "clairvoyant" – recommended by Lidia Ivanovna – who apparently counsels him to decline. Omen III: The Final Conflict (1981). In part 7, the Levins are in Moscow for Kitty's benefit as she gives birth to a son. Damien: Omen II (1978). So she writes to Karenin, and leaves with Vronsky for Moscow. Yet again, Dolly seems unsuccessful; but when Vronsky leaves for several days of provincial elections, a combination of boredom and suspicion convinces Anna she must marry Vronsky. In part 6, Dolly visits Anna, and at Vronsky's request, she asks Anna to resume seeking a divorce from Karenin. Shortly afterward, she and Vronsky leave for the country. However, Anna manages to visit Seriozha unannounced on his birthday, but is discovered by the furious Karenin, who had told their son that his mother was dead. Karenin is comforted – and influenced – by the strong-willed Countess Lidia Ivanovna, an enthusiast of religious and mystic ideas fashionable with the upper classes, who counsels him to keep Seriozha away from Anna. In Europe, Vronsky and Anna struggle to find friends who will accept them and pursue activities that will amuse them, but they eventually return to Russia. The couple go to him, and Kitty nurses him until he dies, while also discovering she is pregnant. A few months later, Levin learns that his brother Nikolai is dying. In part 5, Levin and Kitty marry. Much more straightforward is Stiva's matchmaking with Levin: a meeting he arranges between Levin and Kitty results in their reconciliation and betrothal. Vronsky at first plans to flee to Tashkent, but changes his mind after seeing Anna, and they leave for Europe without obtaining a divorce after all. However, Anna recovers, having given birth to a daughter she names Annie. Stiva finds himself pleading on her behalf for Karenin to divorce. At her bedside, Karenin forgives Vronsky, who, in remorse, attempts suicide. Again, Dolly seems to be unsuccessful, but Karenin changes his plans after hearing that Anna is dying in childbirth. Anna's brother Stiva argues against it, and persuades Karenin to speak with Dolly first. By part 4, however, Karenin is also finding the situation intolerable and begins seeking divorce. Back in Petersburg, Karenin exasperates Anna by refusing to separate with her, and threatens not to let her see their son Seriozha ever again if she leaves or misbehaves. Dolly seems to be unsuccessful, but a chance sighting of Kitty makes Levin realize he still loves her. Part 3 examines Levin's life on his rural farming estate, a setting closely tied to Levin's spiritual thoughts and struggles. Dolly also meets Levin, and attempts to revive his feelings for Kitty. When Kitty learns that Vronsky prefers Anna over her, she travels to a resort at a German spring to recover from the shock. Anna's anguish when Vronsky falls from a racehorse makes her feelings obvious, prompting her to confess to her husband. In part 2, Karenin scolds Anna for talking too much with Vronsky, but she returns Vronsky's affections nonetheless, and becomes pregnant with his child. Levin returns to his farm, abandoning any hope of marriage, and Anna returns to her husband Alexei Alexandrovich Karenin, a senior government official, and their son Seriozha in Petersburg. There a man commits suicide by jumping in front of a train. Kitty turns him down, as she is expecting an offer from army officer Count Alexei Kirillovich Vronsky. Vronsky has no intention of marrying, however, and falls in love with Anna after meeting her at the Saint Petersburg railway station. Meanwhile, Stiva's childhood friend Konstantin Dmitrievich Levin, a serious young aristocratic landowner who actually lives on and manages his estate, arrives in Moscow to offer marriage to Dolly's sister Katerina Alexandrovna Shcherbatsky ("Kitty"). Anna Karenina, Stiva's sister, persuades Dolly not to leave him. Part 1 introduces Prince Stepan Arkadyevitch Oblonsky ("Stiva"), a civil servant who has been unfaithful to his wife Darya Alexandrovna ("Dolly"). The novel is in eight parts. Dostoevsky, Tolstoy's contemporary, in reviewing the book, declared it to be "flawless as a work of art". Widely regarded as a pinnacle in realist fiction, Tolstoy considered this book his first true novel. Consequently, the novel's first complete appearance was in book form. The novel initially appeared serially in the periodical Ruskii Vestnik ("Russian Messenger"), but Tolstoy clashed with its editor Mikhail Katkov over issues that arose in the final installment. Anna Karenina (Анна Каренина) is a novel by Leo Tolstoy that was first published in 1877. 2000: A 4 part British TV adaptation directed by David Blair. 1997: The first US version to be filmed on location in Russia, directed by Bernard Rose and starring Sophie Marceau. 1985: Starring Jacqueline Bisset and Christopher Reeve, directed by Simon Langton. 1977: A 10 part British TV miniseries directed by Basil Coleman. 1967: A Russian version directed by Alexander Zarkhi. 1953: A Russian version directed by Tatyana Lukashevich. 1948: Starring Vivien Leigh and directed by Julien Duvivier. 1935: The most famous and critically acclaimed version, starring Greta Garbo and Frederic March and directed by Clarence Brown. This version featured significant changes from the novel and had two different endings, with a happy one for American audiences. 1927: An American version titled Love, starring Greta Garbo and directed by Edmund Goulding. 1915: An American version starring Danish actress Betty Nansen. 1914: A Russian adaptation directed by Vladimir Gardin. |