Customer Reviews

The Omen [Original Motion Picture Soundtrack]

5 star:		(3)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

With all due respect to the Goldsmith purists worldwide (and to the composer himself), the maestro is DEAD. His extraordinary and music for the Omen trilogy is LEGENDARY. It is the ultimate template for a horror film score. Having said that, Beltrami's music for the remake is simply exquisite. It succeeds for the most part, because it is not simply an extension of Goldsmith's material, but a genuine hommage to the spirit of the maestro's work. Beltrami's Omen is a rich and vibrant score, with a wealth of thematic material that is expertly crafted. I also appreciate that Beltrami's score is not obvious or contrived -- the music flows with a sense of assuredness unlike anything I've heard from Beltrami previously, and is the staple of an outstanding horror score. A strong (and moving) central theme, combined with a frantic sense of desperation makes Beltrami's Omen a WORTHY entry into the realm of great horror film scores.

Beltrami has been given some BIG shoes to fill. I've always been an admirer of Jerry's original score, and the revolution in horror scoring that it spawned, so my expectations for this new "reincarnation" were pretty high. I must admit that Beltrami has risen to the occasion, but this is not to say that it is an exceptional score.
It's clear from the outset that Beltrami has given this score his own compositional style, mainly in the way he uses percussion and his choices in orchestration and instrumentation. One reviewer mentioned that Beltrami's "Omen" is the serious side of his previous score for "Hellboy" and to be honest, I'm inclined to agree. Much of the action material from that score is given similar treatment here, only without the obvious comic book flair. The softer moments of "Omen" have some very nice writing at times, often with gentle piano or Beltrami's good use of woodwinds.
One major aspect of the score that I think detracts from its merit greatly is the lack of a significant tie to the religious themes of the film. This pseudo-religious scoring is what gave Jerry's original its appeal and I was suprised to hear so little of it here. Beltrami was given a wonderful choir, heard in full in the last track but only a little elsewhere in the score.
As a stand-alone horror score, it's very effective: his rhythmic and percussive writing suits the genre very well, and we hear a lot of that here (i.e.-in the opening track). However, there are times when the score doesn't lend well to its own seriousness and I really felt that this tended to take the music from "Omen" to another typical "slasher" flick. In my opinion, this arises from the same lack of a religious musical tone (just my opinion!) On a more positive note, he uses Jerry's original material to a good effect, just enough to give flavor while putting his own unique touch to the score.
Overall, Beltrami's score for the new "Omen" is a good one: an entertaining listen, although one that I probably won't have in my player as often. In reality this score will probably live out its days in the shadow of its predecessor, however there are very good bits to be found here and any fan of Beltrami's work on previous scores for this genre should try it.

First of all it is important to note that Marco (Hellboy)Beltrami was a student of Jerry(Star Trek: The Motion Picture, The Omen Trilogy, Many Others)Goldsmith, and the master's musical influence is present in subtle echoes.

Goldsmith's original Omen score, his only Oscar winner by the way, is a rousing and unforgettable choral tour de force that elevates the film tremendously. The haunting chants that underscore the evil powers protecting Damien are a hallmark to Goldsmith's genius at evoking emotions while still using memorable themes.

Most horror film scores today are little more than transparently digital incidental music on top of overproduced percussion that are forgettable at best and annoying at their worst.

This being said, Beltrami's capable and appropriate score just doesn't have the majesty and power of Goldsmith's sinister black mass. There is only one brief tribute to the signature Omen theme, Ave Satani, in the closing credits, and the score suffers because of this. Surely there was a way to update the score without ignoring the signature them completely? Imagine remaking Jaws without the well known two-note motif. Something is definitely missing in this score.

Screenwriter David Seltzer managed to elevate his original screenplay in this remake, but I believe it suffers from Beltrami's passable but clunky attempt to "depart" from the classic Omen themes.

A Thematic Film Score Fan

While not as gothic as Jerry Goldsmith's classic score to the original, Beltrami still delivers a sinister and rhytmic score that greatly enhances the atmosphere of the movie. Goldsmith's "Piper Theme" is quoted a few times, and although he uses fewer vocals than Goldsmith, they are used to chilling effect. The voices are disembodied and quiet, as if the very Devil himself is speaking.

Most of the criticism towards this score seems to be that it isn't Goldsmith. Well, of course it isn't because he's dead! And quite frankly, his score would seem a bit cheesey in a modern film. Give Beltrami a chance and I think you'll enjoy it.

Released in theatres today, the remake of the 70s horror film is trying to turn a charged date 6.6.(0)6 into a blockbuster. No word on the box office yet; should be an interesting struggle though, considering Pixar's latest Cars is riding the Omen's wake. But enough of the film! 39 year old Composer Marco Beltrami was hired to do what he does best: score horror movies.

On the heels of Underworld: Evolution and Red Eye, Beltrami signed on to the project to construct a sound very similar to Zimmer's Da Vinci Code. The only difference was the horror aspect Marco employed. Otherwise, while Omen's music is certainly less mature, it is at its base, a purely religious soundtrack, and works off of its ability to create (and then distort) highly "sacred" motifs. Comparing Omen's "Main Titles" and Da Vinci Code's shows just the beginning of the correlations between the two. Still, Marco is young, and he relies heavily on bass and percussion to drive his melodies, using the chorus as a (practically demonic) backdrop. Zimmer, on the other hand used the human voice to carry many of his cues.

If I was comparing this soundtrack to one of the composer's earlier works, I would say that the Omen is a far more sinister rendition of the comic book adaptation Hellboy, which Marco scored a couple years back. "A Cross To Bear" highlights the tension that was pure action-fun in Hellboy.

Highlights include the powerful "Dogs in the Cemetary," as antichrist Damien uses hounds to carry out his nefarious whims, but also the haunting choral masterpiece of an "End Titles" sequence. The opening cue is an obvious nod to previous Omen-composer (and now deceased) Jerry Goldsmith (whom Marco studied under for some time, believe it or not. Maybe that played into the decision to hire him for the remake.). "Alter of Sacrifice" is another powerful cue; frenzied and wild, like the rest, yet showing a good bit of "method to the madness." Sounds like it came out of Alan Silvestri's Van Helsing.

I found it fascinating to see how two composers (Zimmer and Beltrami) had similar scores to write, and what angles they came from. Personally, Zimmer's is far more developed, and much more for the soundtrack purist. But Marco's easily stands out as his best so far. Cuts like "Dogs in the Cemetary" prompt recalls to the young composer's earlier effort I, Robot; which was a dismal soundtrack failure, showing how much the guy has matured since then.

This soundtrack makes me excited about Marco Beltrami's musical future (which includes two more projects this year).

Marco Beltram was indeed a student of Jerry Goldsmith and he does, as another reviewer states, pay homage to Goldsmith's sinister score with subtle flourishes and almost subliminal whispers of the satanic chorus present in the original Omen score. The first three seconds of this score is a cacaphonic decresendo that sets a bleakly evil tone for what is to come. As the opening credits roll in the movie and we see images of the comet heralding Damien's birth dissolve into frantic pictures of cardinals warning the Pope in the Vatican, Beltran's score picks up significant instrumental steam in the main title and carries the listener and viewer with him in a maelstrom of Damien's sacriligious and hellish birth. The rest of the soundtrack holds up equally well and it was a brilliant idea to pay direct homage to Goldsmith with the tail end medley of themes from his original pen. Also, watch the film and notice how Beltran weaves a brief measure or so of Goldsmith's "love theme" as one thing after another goes wrong for the Thorns. The movie itself is a rather poorly acted and filmed imitation of the original...why this happened is beyond me because if they were looking to do something a bit "new" the original David Seltzer book provided alot of good dialogue and expanded action not used in the original film that would have set the sequel apart from the original. As a huge Omen and Goldsmith fan, I wanted to dislike the score from the start but it's impossible in that it grows on you upon a second and third listening. Finally, while I and countless other adults feel the fear and dread and terror in the satanic chantings present in the original score, I have direct evidence that's today's younger audiences just wouldn't get it and the new score provides a better frame of terror reference for their ears. My evidence? I played parts of the original score and movie for my sixth grade class and they laughed...they thought the movie scenes were scary enough but to a one they all said "what's with the opera...that sounds silly". In 2006, after being weaned on what constitutes "good horror music" I see the sensibilities have changed indeed and the Beltran score is much more modernized and in keeping with what young fans would expect a horror soundtrack to sound like. Try explaining the horror of Satanic Gregorian chants (these chants alone have been softened up for mass consumption with groups like Enigma making use of them) to a thirteen year old and you'll see what I mean.

The Omen was a masterpiece in it self with its haunting chorus and strings. But with the new year comes The Omen remake. I dont know if its just me but I loved the movie. Maybe its because Liev Shruber looked cool. And the movie just felt cool when you saw it. Ironic how jerry Goldsmith scores the original and Marco Beltrami scores the remake. But none the less it was a good move.
The Omen Main Titles starts the score of great with a dark forboding yet paced and loud. I also like the touch with the Takio drums. The Adoption Is a good track with an old theme poping up in this track. Ambassador Gets Fired Is a track with the fun of Hellboy. New House / Damien's Deliverance is a good track but you might not be replaying it on your stereo loud.
The Nanny's Noose soft but dark piano dominates this track with Orchestra backing it. A Cross To Bear another track that makes me thing of hellboy. Ms. Baylock another track that has piano dominating it with Strings backing.Damien's Tantrum love this track same with the track More Tantrums. Kate Doubts sad piano with orchestra backing in this track. Scooter is one of may favoriote tracks now this starts of slow and picks up pace. This has to be one of the track you pump your stereo up and bop your head to it. This will get the repeat treatment. Don't Let Him Kill Me and On The Heels Of Spiletto now things start to get tense ans the orchestra strings can be heard just becoming more tense as you move through the tracks. Dogs In The Cemetery this track is nuts. more action and takio dominates this piece. This will get the repeat treatment. Drive To Bugenhagen I like this track because of the use of middle eastern instrumentaion. Dirty Deeds this track is great I love the action, the tenseness,(If thats a word) The scareiness. You bought the soundtrack but you will be coming back to the last 4 tracks which are the best out of the album. Altar Of Sacrifice this is just a crazy action piece. I love it fast strings, brass, precussion all the good stuff. The Funeral every one knows this track. so you know what to expect for an ambassator. Boy Genius same as the main titles except better, louder, and with a chours. Omen 76/06* do i really need to tell you what to expect in this track. Its the Jerry Goldsmith theme with a beefed up Orchestra.

Its is a must buy and most of the tracks will get the reapeat treament so pick it up when you get the chance.

It is interesting how, unlike in the score for the original Omen (1976), the music for the 2006 remake has absolutely NO presence. The score is remarkably unmemorable and adds very little to the ambience of the movie. The original 1976 theme is rescored for the SECOND half of the end credits -- which brings chills to my spine.

Its TOO bad that by the time the Jerry Goldsmith theme is heard, most people not expecting it have all ready walked out of the theater. Hint: If you are going to watch the remake, stay until the end credits is finished to enjoy the glorious Goldsmith score!