"The First Omen," a riveting prequel to the iconic 1976 horror film "The Omen," is a masterclass in hair-raising horror. The storyline delves into the disconcerting happenings originated by a malevolent orphan adopted by unsuspecting Americans living in London, inferring the birth of the Antichrist as a theological terror and chaotic occurrence.
Blessed are the audiences for two mesmerizing forays into supernatural Catholic horror in today's cinematic age, which recalls the gore and scare factor of the 60s and 70s horror classics. "The First Omen" works in conjunction with "Immaculate," bearing semblance to old Giallos and nunsploitation films of the past while amping up suspense reminiscent of "Rosemary's Baby."
Directed by the highly skilled first-time feature director Arkasha Stevenson, "The First Omen" reveres its predecessor by retaining symbolisms, earthy colors, and intrinsic scares, culminating in an unfolding classic-horror legacy that subverts initial skepticism. Stevenson, along with co-writers Keith Thomas and Tim Smith, refreshes the chilling fear induced by the line "It’s all for you, Damien!" from the original movie, hence establishing the need to explore the genesis of the Antichrist, Damien.
The film introduces Margaret Daino played by Nell Tiger Free. A new American novice in Rome, she is assigned to an orphanage where she forms an instant connection with Carlita, a character performed brilliantly by Nicole Sorace. However, her mysterious amnesiac night-out with a stranger and her relatively uncontrolled acquaintance with Carlita do not resonate with the staff of the orphanage, especially Sister Silva. Margaret also befriends a young priest only to find herself entangled in a spine-chilling conspiracy dipped in distrust.
Stevenson excels in laying bare the art of horror film-making, toying with our senses and incrementally intensifying a feeling of paranoia. She refuses to fall into the established norms of horror incorporating trauma-based departures or vague scares, instead, delivering a top-tier movie through sophisticated camera work, riveting scenarios, and period-perfect details.
"The First Omen" isn't void of modern significance either. It throws light on the religious duplicity and political undertones of the loss of bodily autonomy. Parallel to the serious undertones of "Immaculate," "The First Omen" provides a scathing critique on religion's hypocrisy. The painful experience of the birth of Damien is portrayed to be both horrific and political.
The vivid, visceral aesthetics and the gut-wrenching essence of the film make it a viewer's delight, despite its slow pace towards the end. Truly, "The First Omen" is an unsettling yet enthralling spectacle that we're privileged to witness.
