Omen, The (2006)
Marco Beltrami
" Damien wears a Scream mask! "Written by Thomas Glorieux - Review of the regular release
The Omen is a remake of the classic Richard Donner movie of 1976, of which a couple comes to realize their child may be the devil incarnate itself. John Moore's remake doesn't differ much from the original movie, having most of the same classic scenes and following the same path of the original movie. Some nice color effects and Final Destination blood and gory effects aside, The Omen works and fails on many levels. The biggest problem is the emotion, the best factor is the mood. Making it for Marco Beltrami an easier assignment to put us on the edge of our seat.
Funny enough, it is Marco Beltrami who had to follow in the footsteps of the late great Jerry Goldsmith. For it was The Omen of 1976 that gave Jerry Goldsmith his one and only Oscar win in his career, and for it was Marco Beltrami who studied under the late Jerry Goldsmith to begin with. Sadly Marco couldn't work on the same movie and neither could he use the extensive satanic choir that Goldsmith employed in his legendary classic. So what you get is a nice try attempt, a score that functions very well inside the picture, but also a score that distinctly follows Marco Beltrami's horror efforts of the past, immediately noticeable when "The Omen Main Titles" opens with uneasy strings, brassy shrills and thumping percussion. The choir's whispering does add a nice touch to it.
Perhaps the only scene that shows a bit of warmth is Katherine's first glimpse of her child, and Damien's growing up which is filmed by the proud parents. Marco's soft strings doesn't depict a hint of danger during "The Adoption", something "Ambassador Gets Fired" does all too prominently with its shrieking strings. And Marco keeps things tight, suspenseful and unsettling during the more classic scenes. During "The Nanny's Noose" you'll get a sense of pizzicato uneasiness and brassy danger, the choir unveils a bit more evil during "Damien's Tantrum", brass burst follow Damien's turns throughout the house in "Scooter" and rhythmic attacks makes us forget the classic choral outbursts of Jerry Goldsmith's classic in "Dogs in the Cemetery".
Uneasy strings during "A Cross to Bear", brassy shrills during "More Tantrums" (which also unveils some choral effects), low choir and tones settling the mood during "On the Heels of Spiletto" and a solo vocal inserting some ethnic flavor in the otherwise suspenseful "Drive to Bugenhagen", basically it's all moody, suspenseful and horrific from the 4th track on, and one is only waiting for the inevitable demise of Damien or Robert to close the experience with a positive or negative feeling. Of course we all know how it ends and Beltrami makes sure at least some part of Jerry Goldsmith's legacy is responsible for that.
"Altar of Sacrifice" is the first and dares to insert some Goldsmith horror maneuvers in a ferocious attack on the rhythmic senses. What it brings of classy horror music it forgets to spice up with choral chants. Like the entire score, choir isn't an issue here and here you actually need that choral outburst. Luckily even child murderers or wannabe's get a military burial and so we get some respite of the demonic twist in "The Funeral", all before "Omen 76/06" shows you how it had to be done. Infusing Jerry Goldsmith's own satanic Ave Satani in Marco Beltrami's sound is by far the closest this score gets to The Omen (though "Boy Genius" gets close at times nonetheless)
Like the film, the soundtrack of The Omen does its job. It's effective, at times partially enjoyable and at times downright chilling. But like the film, you can't help but remember and compare to what we heard and saw in 1976. And knowing about that little demonic fact, it is quite easy to dismiss this effort for something that was and is considered to be superior. This has Marco Beltrami's footprints all over it, and it breaths, feels and listens like a continuation of his known horror sound. Which makes The Omen something for the fans of his repertoire, and not directly for the fans of Jerry Goldsmith's only Oscar win.
Tracklisting
1. The Omen Main Titles (2.58)
2. The Adoption (4.12)
3. Ambassador gets Fired (1.33)
4. New House / Damien's Deliverance (2.20)
5. The Nanny's Noose (2.05)
6. A Cross to Bear (2.49)
7. Ms. Baylock (1.50)
8. Damien's Tantrum (1.52)
9. More Tantrums (2.12)
10. Kate Doubts (1.05)
11. Scooter (2.44)
12. Don't Let Him Kill Me (1.29)
13. On the Heels of Spiletto (6.58)
14. Dogs in the Cemetery (2.02)
15. Drive to Bugenhagen (1.31)
16. Dirty Deeds (4.12)
17. Altar of Sacrifice (4.10)
18. The Funeral (1.41)
19. Boy Genius (2.52)
20. Omen 76/06 * (3.30)
* arranged by Marco Beltrami and Bill Boston, based on Jerry Goldsmith's Ave Satani
Total Length: 54.05
Funny enough, it is Marco Beltrami who had to follow in the footsteps of the late great Jerry Goldsmith. For it was The Omen of 1976 that gave Jerry Goldsmith his one and only Oscar win in his career, and for it was Marco Beltrami who studied under the late Jerry Goldsmith to begin with. Sadly Marco couldn't work on the same movie and neither could he use the extensive satanic choir that Goldsmith employed in his legendary classic. So what you get is a nice try attempt, a score that functions very well inside the picture, but also a score that distinctly follows Marco Beltrami's horror efforts of the past, immediately noticeable when "The Omen Main Titles" opens with uneasy strings, brassy shrills and thumping percussion. The choir's whispering does add a nice touch to it.
Perhaps the only scene that shows a bit of warmth is Katherine's first glimpse of her child, and Damien's growing up which is filmed by the proud parents. Marco's soft strings doesn't depict a hint of danger during "The Adoption", something "Ambassador Gets Fired" does all too prominently with its shrieking strings. And Marco keeps things tight, suspenseful and unsettling during the more classic scenes. During "The Nanny's Noose" you'll get a sense of pizzicato uneasiness and brassy danger, the choir unveils a bit more evil during "Damien's Tantrum", brass burst follow Damien's turns throughout the house in "Scooter" and rhythmic attacks makes us forget the classic choral outbursts of Jerry Goldsmith's classic in "Dogs in the Cemetery".
Uneasy strings during "A Cross to Bear", brassy shrills during "More Tantrums" (which also unveils some choral effects), low choir and tones settling the mood during "On the Heels of Spiletto" and a solo vocal inserting some ethnic flavor in the otherwise suspenseful "Drive to Bugenhagen", basically it's all moody, suspenseful and horrific from the 4th track on, and one is only waiting for the inevitable demise of Damien or Robert to close the experience with a positive or negative feeling. Of course we all know how it ends and Beltrami makes sure at least some part of Jerry Goldsmith's legacy is responsible for that.
"Altar of Sacrifice" is the first and dares to insert some Goldsmith horror maneuvers in a ferocious attack on the rhythmic senses. What it brings of classy horror music it forgets to spice up with choral chants. Like the entire score, choir isn't an issue here and here you actually need that choral outburst. Luckily even child murderers or wannabe's get a military burial and so we get some respite of the demonic twist in "The Funeral", all before "Omen 76/06" shows you how it had to be done. Infusing Jerry Goldsmith's own satanic Ave Satani in Marco Beltrami's sound is by far the closest this score gets to The Omen (though "Boy Genius" gets close at times nonetheless)
Like the film, the soundtrack of The Omen does its job. It's effective, at times partially enjoyable and at times downright chilling. But like the film, you can't help but remember and compare to what we heard and saw in 1976. And knowing about that little demonic fact, it is quite easy to dismiss this effort for something that was and is considered to be superior. This has Marco Beltrami's footprints all over it, and it breaths, feels and listens like a continuation of his known horror sound. Which makes The Omen something for the fans of his repertoire, and not directly for the fans of Jerry Goldsmith's only Oscar win.
Tracklisting
1. The Omen Main Titles (2.58)
2. The Adoption (4.12)
3. Ambassador gets Fired (1.33)
4. New House / Damien's Deliverance (2.20)
5. The Nanny's Noose (2.05)
6. A Cross to Bear (2.49)
7. Ms. Baylock (1.50)
8. Damien's Tantrum (1.52)
9. More Tantrums (2.12)
10. Kate Doubts (1.05)
11. Scooter (2.44)
12. Don't Let Him Kill Me (1.29)
13. On the Heels of Spiletto (6.58)
14. Dogs in the Cemetery (2.02)
15. Drive to Bugenhagen (1.31)
16. Dirty Deeds (4.12)
17. Altar of Sacrifice (4.10)
18. The Funeral (1.41)
19. Boy Genius (2.52)
20. Omen 76/06 * (3.30)
* arranged by Marco Beltrami and Bill Boston, based on Jerry Goldsmith's Ave Satani
Total Length: 54.05