Not a good omen

Johnson Thomas

This sixth feature of the franchise series that began way back in 1976, a prequel with a story predating the original ‘The Omen,’ directed by Arkasha Stevenson and based on a story by screenwriter Ben Jacoby, has nothing much to offer other than becoming a tiresome exercise meant to expand the series further through a not-so-successful rejuvenation of sorts.

Screenwriters Tim Smith, Keith Thomas and Arkasha Stevenson (also the director) take the story back to the early 1970s, looking to create an origin story that summons up contemporary criticism of religion and its gatekeepers.

‘The First Omen’ hopes to dominate the collective iconography by involving the creation of ultimate evil. The fringe of the past has mainstreamed now. The creators are a section of the church that is radical in the belief that when people see the Antichrist with their own eyes, they will look at the church for help and sustenance. It’s their understanding that all those who have left the church disillusioned by its functioning will become believers again and flock back in large numbers. It’s a convincing argument on paper but doesn’t hold much water in cinematic terms — given the manner in which this narrative plays out.

The backstory here is clearly intended to create a premise capable of inspiring fresh sequels, but unfortunately, there’s nothing new here. The plotting is convoluted. Margaret Daino (a veritably intense Nell Tiger Free), a deeply troubled young American interning to “take the veil”, goes to Italy, prompted and supported by Cardinal Lawrence (Bill Nighy), to join the nuns at the Vizzardeli Orphanage. She shares a room with Luz (Maria Caballero), a fellow novitiate who is interested in exploring herself before she hands her life over to God. Then, there’s a supposedly strong believer in a mysterious fellow nun Anjelica, a shunned child Carlita (Nicole Sorace), Sister Silvia (Sonia Braga) and Father Brennen (Ralph Ineson) as part of the integral mix intended to stir up things.

In a scene hearkening back to the 1976 production, the film opens with a meeting between Father Brennen and Father Harris (Charles Dance) while the two are standing next to a church undergoing a renovation. An accident occurs and a stained glass window accompanied by falling pipes gets showered on the two. Brennen escapes unhurt but the same cannot be said for Harris — clearly the intent was to set the impending doom bells ringing. Margaret is brought into the mix as a wide-eyed woman eager to fulfill her destiny… only to find herself in an unexpected quandary at a later stage.

Stevenson’s film is not a patch on the 1976 original, failing to muster either eerie thrills or mysterious foreboding as it chugs its way forward to an enjoined climax.

‘The First Omen’ ignores the socio-political context it entangles with in the backdrop. There’s some intensity in individual scenes but the disconnectedness is galling. The only good thing here is the script’s additional stakes dissecting authority and autonomy and its highlighting of the inherent hypocrisy of the church.