#1976films

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The Omen (1976)

The Omen contains many eerie and unsettling moments. You’ve seen the film parodied, you likely know the big revelations already, but this engaging, deliberately paced, ominous story has got some tricks up its sleeve you won’t see coming.

American diplomat Robert Thorn (Gregory Peck) learns his wife Katherine (Lee Remick) has given birth to a stillborn son. To spare her the pain, Robert is convinced by the hospital chaplain (Martin Benson) to secretly adopt an orphan whose mother has just died. When mysterious events start plaguing the Thorn home, Robert begins to wonder if the wild accusations he has been hearing from Father Brennan (Patrick Troughton) and the strange observations by photographer Keith Jennings (David Warner) might not indicate that something supernatural about Damien (Harvey Spencer Stephens).

Director Richard Donner keeps his cards close to the chest and keeps you guessing. There are no shots of Damien smiling as a pet suddenly attacks its master or any behavior that makes him look like anything but a little boy who acts out once in a while, as little boys tend to. I knew the answer to whether the boy is evil or not but if you don’t, I think you’d have a hard time guessing. It could very well be the story of a man who’s stressed out after a shocking tragedy (the best scene in the film, one that made chills go up my spine) and becomes prone to believing the worst of those around him.

Even if you know where things are going, it's as tense as hanging on a ledge by your fingertips and made doubly engaging by strong performances. Gregory Peck is terrific in the role of the torn father. You understand the need for him to find some rational explanations for what is happening, you feel his need for answers, and the fear he holds deep inside that his suspicions may be true. A less talented actor than Peck would've made you lean one way or another. Here, you have no idea. Speaking of which, young Harvey Spencer Stephens is quite good as well. The role is not one that calls for a whole lot of dialogue (he barely has a handful of lines) but that makes the looks he gives and body language that much more critical. A smile in the wrong scene and you’d say “definitely evil”!

In a way, time has not been kind to The Omen. I still highly recommend it, but can't help yearning for a time machine to experience it like those from 1976 would have. The ending is so good people haven’t stopped talking about it since and while waiting for it to come, you’re prone to grow slightly restless. Or you might not. Even now, some of the more chilling scenes still haunt me. It’s a great example of horror done right. You don’t worry about the trivial things, you go for what really frightens people: the unknown, uncertainty, the worst-case scenarios. The Omen is a horror film that has endured for a reason. (On Blu-ray, July 19, 2016)

[kinonostalgie]

Im Reich der Sinne 1976 Nagisa Oshima

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[adamwatchesmovies]

King Kong (1976)

1976's King Kong is not a bad film, though you easily see why it's been overshadowed by every other version of the story.

Company executive Fred S. Wilson (Charles Grodin, whom you might recognize from Tremors) is leading an expedition to a virgin island hidden by a thick fog his scientists say is a rich oil deposit. On the way there, he finds two unexpected people: Dwan (Jessica Lange), the sole survivor of a yacht caught in a storm, and Jack Prescott (Jeff Bridges) a stowaway who believes a rare species of ape lives on the island. Indeed, on the world which time forgot a primitive tribe of humans worship a titanic ape named Kong. 

The most notable thing about this King Kong is also what makes it ultimately forgettable: the absence of dinosaurs (I guess they all got turned to oil). The only remotely exceptional creature on the island - besides Kong - is a large snake. This makes the great ape feel much more like a big deal, at the cost of a lot of charm. As a consolation prize, the human characters get a lot more development and screen time.

Particularly striking is the story's romantic angle. Bridges and Lange have great chemistry and their scenes together make the later parts of the film that much more poignant. Ultimately, the jungle perils have strengthened them as a couple but then, the story brings them to a crossroad. Jack is disgusted at everyone's behavior towards Kong. She’s conflicted. The beast is her ticket to stardom. You’ve gotten to know these people. This is real drama, not just a plot point to keep audiences awake while the ape isn't on-screen.

I also appreciated the time devoted to Charles Grodin's character. In most films, he'd be simply about greed, a total sleazeball whose purpose is solely to get the plot going. You'd expect him to hit on Dwan, for example, but he shows genuine concern for her, and for his staff. This guy's an optimist, at least initially. When things don’t go according to plan, you see his dark side emerge and he turns sinister.

Some of the special effects are dated, but they are good overall. Keep in mind this film was made in the ’70s. No computer effects, no stop-motion either. Kong is created through animatronics, miniatures, and a pretty good costume. You can see where the footage was spliced together, but this is as good as possible at the time. The picture does lose something by using these techniques, however. It isn't slick like Jackson's 2005 film and isn't the best example of stop-motion tech like the original. It's in the middle, and lesser for it. Overall, the effects are convincing. You understand why audiences were impressed upon its release. Compare it to King Kong vs. Godzilla or King Kong Escapes and you’ll see.

A few decisions from director John Guillermin make the great ape not quite resonate as an appealing, tragic hero the way he has before, or since. Key beats of heroism have been given to the human characters instead and have been replaced with the titan gorilla leering at Dwan while trying to undress her. Yuck. It's counterbalanced by great moments towards the ending but these small criticisms add up. You appreciate the film for everything it does well but in the end, everything about this film has been done better elsewhere. It's a neat curiosity. (On DVD, September 26, 2014)