Few pop-cultural artifacts have encapsulated the prevailing ethos of their time as effectively as the April 8, 1966 Time magazine cover, posing the question: “Is God Dead?” This inquiry emerged amidst the burgeoning countercultural movement and the tumult of the Vietnam War, prompting widespread questioning of the church’s authority and relevance. This existential crisis found expression in cinema through a series of highly successful horror films with religious themes. Movies like Roman Polanski’s “Rosemary’s Baby” (1968), William Friedkin’s “The Exorcist” (1973), and particularly Richard Donner’s “The Omen” (1976) tapped into this cultural shift.
Now, nearly fifty-eight years later, “The First Omen” emerges in a society both different and yet strangely similar. Set in 1971, Arkasha Stevenson’s prequel to Donner’s horror classic seeks to delve deeper into the narrative and contextual landscape, exploring the factors that led many to question their faith in the church, then and now, often with chilling consequences.
TOP 666 THINGS ABOUT “THE FIRST OMEN”
6. The Marketing
I cannot say enough good things about the marketing for “The First Omen.” The trailer, most prominently used, was a very creative and very eerie work of avant-garde craft unto itself, utilizing reversed footage and audio before crescendoing to a single sustained close-up of an eyeball. The results were twofold, as the trailer effectively conveyed the tone and atmosphere of the film while also preserving a unique sense of secrecy for the theatrical experience.
So often with horror film marketing, the trailers feature some of the film’s broadest scares in order to effectively spook potential audiences. This can result in the actual viewing of the film feeling potentially diluted or a bit too telegraphed. I walked into “The First Omen” having not seen a single scare from the film in advance, which made the entire viewing experience that much more unsettling and satisfying.
5. The Opening Sequence
The opening sequence of “The First Omen” immediately sets the tone, pace, and ambiance of Arkasha Stevenson’s vision in striking fashion. With visuals evoking key moments from Donner’s seminal film right from the opening shot, but with a wickedly subversive undertone that delves into something much more deceptively transgressive beneath the surface, this opening scene grabs you in unexpected ways.
Incidentally, I saw “The First Omen” at a late-night screening on opening night, and a large group of teenagers came into the theater just before the film started. Like moths to the flame, these teenagers came boisterously filing in, spending the first few minutes of the film talking and giggling to one another. However, as soon as the first knee-weakening scare hit from this sequence, they went completely silent. That’s the power of a stellar and idiosyncratically-suited opening.
4. Weak Spot: The Narrative
By and large, I quite like “The First Omen.” From its production design to its performances to its musical score, it boasts a plethora of elements that are incredibly well put together, contributing to a genuinely pervasive sense of dread. However, the scripting and narrative structure of the film are sadly lackluster.
The film shines brightest when it focuses on Nell Tiger Free’s Margaret and her nightmarish journey of spirit and mind. This loose story allows for the exploration of disparate visual ideas and provides Stevenson and her team with a platform for showcasing surreal and horrifying imagery. However, whenever the narrative becomes too convoluted, one can practically feel the gears of the machinery grinding through the fabric of the film itself.
While some attempted re-enactments of beats from Donner’s “The Omen” fall short, and a plethora of extraneous characters detract from the story’s focus, “The First Omen” would have benefited from a script that felt more singularly defined and in control of its own narrative.
3. Recontextualizing “The Omen”
The most compelling aspect of “The First Omen”‘s writing is its bold confrontation of the controversies and conflicts that inspired the original film. By delving into the “Is God Dead?” world that shaped “The Omen” and framing the story around the church’s desperate attempt to reclaim control of the cultural consciousness through the birth of the Antichrist, the film takes on significant metatextual weight.
In many respects, “The First Omen” is equally interested in exploring the genesis of Donner’s “The Omen” as it is in examining the genesis of Damien. Does Donner’s film, along with its fellow religiously-themed horror counterparts, serve solely to frighten audiences back into the embrace of the church? This existential question of purpose and existence is a central theme that “The First Omen” actively grapples with, offering rich and intriguing insights.
On a side note, it’s remarkable that this film was produced under the Disney banner. Amidst the transition following Disney’s acquisition of Fox and its properties, several intriguing “between-quels” have emerged, such as Dan Trachtenberg’s “Prey” and Fede Álvarez’s upcoming “Alien: Romulus.” However, “The First Omen” stands out as perhaps the most audacious of these projects, and witnessing its deliriously wonderful execution is a truly fascinating experience.
2. The Birth
I don’t want to say too much about this part of the film, but suffice it to say that there is a birth sequence and it is genuinely, deeply upsetting. Everything about this sequence, from the performances, to the inspired and hard-eanred muscial choices, to the inescapable, suffocating, and trance-like visual language with which it is captured, are harrowing.
A searing, unforgettable sequence driven by standout filmmaking.
1. Arkasha Stevenson’s Direction
This past weekend saw the release of debut films from directors who certainly make their mark, with Dev Patel’s remarkable “Monkey Man” and now Arkasha Stevenson’s “The First Omen.”
Stevenson, known for her work on television shows like “Legion” and “Channel Zero,” brings her expertise to the big screen with a visceral and disorienting approach. Collaborating with cinematographer Aaron Morton, Stevenson employs experimental techniques to deliver some of the most chilling visuals of the year. Drawing from influential works such as Donner’s “The Omen,” Argento’s “Suspiria,” Polanski’s “Rosemary’s Baby,” and Żuławski’s “Possession,” Stevenson creates an atmosphere that engulfs the audience.
The film is replete with striking and unique visual elements, often focusing on small details that heighten the sense of unease, such as the outline of teeth beneath a black silk mask or the visceral sound of a blade cutting through flesh. Stevenson’s achievement in “The First Omen” is remarkable, and I eagerly anticipate her future projects.
RGM GRADE
(B-)
“The First Omen” may have its flaws, particularly in its convoluted narrative, but what lingers after the credits roll is not the plot intricacies. Rather, it’s the haunting visuals crafted by Stevenson that stay with you long after leaving the theater. Even on the drive home, scenes from the film replay in your mind with striking clarity, a testament to Stevenson’s directorial prowess. Despite any shortcomings in the script, Stevenson’s ability to evoke a sense of unease and captivate the audience speaks volumes about her talent as a filmmaker.
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