The Omega Man

He Am Legend

The Omega Man
1971 USA
Directed by Boris Sagal
Warner Brothers Blu Ray Region B

As far as I can make out there have been, to date, four movie versions of Richard Matheson’s classic sci-fi/horror novel I Am Legend. The Last Man on Earth from 1964 (starring Vincent Price and reviewed here), The Omega Man (the subject of this review), I Am Legend (starring Will Smith) from 2007 and a straight to home video release, also from 2007, called I Am Omega. Of the four, I still haven’t got around to watching that last yet but I was gifted with a copy almost two years ago and it’s gaining traction and moving to the top of my “to watch” pile finally, you’ll be glad to know. Hoping to check that one out before the end of the year.

Matheson was reported to be unhappy with the Vincent Price version of his book but I’d have to say that, of the film adaptations I’ve seen of it, that first version is the one that’s closest to the novel. In the book the main protagonist is the sole survivor, kind of, of a virus that wipes out the world and either kills the rest of the population or turns them into vampires. And I mean vampires... proper blood sucking, daylight fearing vampires. The main protagonist spends most of his time hunting them out by day, banging stakes through their hearts and holing up at night.

The Price movie follows this pretty well, as far as I can remember, but if The Last Man On Earth is a version of I Am Legend that Matheson wasn’t happy with, I can’t even imagine what he made of The Omega Man. It’s here that I should go on record saying that, although I love all three movie versions of the book I’ve seen, The Omega Man is by far my favourite of them because it’s just plain, outright fun.

Starting off with Neville, the main protagonist played by Charlton Heston, riding around the city in the far future of... um... 1977, we hear Max Steiner’s theme from A Summer’s Place on the 8 track he puts in the car stereo... before he stops and spots something moving in one of the windows. He immediately stands up in his car, pulls a machine gun from the passenger seat, and opens fire at the window before driving off into the opening credits, with Ron Grainer’s haunting main titles playing over shots of him driving around the deserted city.

Charlton Heston was fast becoming the “go to” man for this kind of film which belongs as part of a collective pre-Star Wars science fiction strike, launched at cinema directly from Hollywood in the late sixties up to the mid-seventies. These films commonly projected cynical and depressing dystopian futures which were popular in their gritty depiction of a world that spiralled off into decay, or in this case, is the inherited fall out from an apocalyptic virus. Heston had recently proven himself suited to this kind of movie with his appearances in Planet Of The Apes and Beneath The Planet Of The Apes and would do so again, after this, with his turn as the main protagonist in Edward G. Robinson’s final film, Soylent Green. Actors such as Yul Brinner, James Caan and a various others were also getting good roles in similarly grim science fiction movies such as Westworld, The Ultimate Warrior, Rollerball, Silent Running and Logan’s Run (which was about the last of the cycle before Star Wars hit and changed the course of on-screen science-fiction forever).

The Omega Man firmly belongs in this camp and, as you may expect, Heston proves himself a pretty good actor as he slowly starts going mad and talking to himself before coming across a bunch of survivors who also have the plague... teaming up with them to find the cure made from in his own blood.

The film finishes both cynically and hopefully with a bittersweet conclusion that more or less mirrors the book without actually fully grasping the concept that the creatures Neville has been hunting for his own survival are actually more afraid of him than he is of them. To them he has become a legend, hence the title of the original novel.

The movie tries to do the novel in very basic structure, and does attempt to address that issue... but really only pays it lip service. The vampires have been replaced by light sensitive, virus infected mutants and any references to vampiric myth has been unequivocally vanquished from the movie. But still, it’s got guns, a babe (in Rosalind Cash) and some “right on” hippy values thrown in as a metaphor created by the fate that has befallen the human race. Like I said, it may not be accurate to the book but it is fun...

It’s also kinda groovy with Ron Grainers score really knocking it out of the park and clear across the world. Even from the opening titles you know this score is going to be special. Grainer was mostly known for TV work, writing familiar themes such as the opening titles music of The Prisoner and, as realised by Delia Derbyshire, the main signature theme for Doctor Who. But he did do a few movies and was known for bringing in some unusual instruments from his personal collection to go in certain scores, like the water bell on this score. The music in this is absolutely perfect and I don’t know why Grainer didn’t get a hell of a lot of other big Hollywood movie gigs off the back of this. I can’t believe it took something like 30 years just to get a limited edition CD of this released (now in it’s remastered and corrected second incarnation from the Film Score Monthly label). Some of the action cues sound a little like his music for The Prisoner but I think this should maybe just be attributed to his style and, frankly, I think this is one of the best scores written for a movie. Why they didn’t make a big thing of this one I’ll never know.

The action is fast and furious in places and the performances are all fine, especially Heston’s man living with himself and Anthony Zerbe as the head of “the family” of mutants, although his preachy, pseudo-religioso performance does start to grate a bit towards the end. There’s a strong Christ analogy at the finish which is not exactly subtle and that fits right in with the general zeitgeist of the time, methinks. Whether you like it or not, I think I’d have to peg The Omega Man as a sci-fi classic... a film that I’m likely to travel back to every few years (not like the other versions I’ve seen). Matheson probably wasn’t best pleased with this version, which does tend to subvert his original narrative into other concerns of the screenwriters, but if you can pull yourself away from the template of the original (and excellent) novel then I think, if you’re a fan of science fiction, you may find The Omega Man worth taking a good, long look at.

Blog Writer Struck Down: Vampire Virus

The irony doesn’t escape me that, as I write about a man who is the sole human survivor of a virus that has killed the rest of the world and left the rest of the population as vampires, I am struggling desperately to string this sentence together through all the sniffing, coughing and splitting headache that I have at the moment. I presumably don’t have the same vampire virus that kills the world off in this movie, but I can tell you now... I’m finding this hard just to find the right keys to hit... let alone focus on the screen properly. So apologies if the grammar and spelling go a bit wrong on this blog post... or at least, wronger than usual.

The Last Man on Earth 1964 Italy

Directed by Ubaldo Ragona

MGM Midnite Movies DVD Region 1

Okay... it’s been a while since I last saw this movie and the only reason I thought I’d check it out again now is because I recently... kind of accidentally... bought yet a third DVD version of it... due to it being the second half of a double bill on one of those brilliant old MGM Midnite Movies release, dual-sided flipper-discs. I desperately wanted to see Panic in Year Zero so I ended up with another digital print of Last Man by default.

The Last Man on Earth is an Italian movie and is the first of four loose “adaptations” of Richard Matheson’s excellent novel... I Am Legend... the other three being The Omega Man 1971 with Charleton Heston, I Am Omega 2007 with nobody special and I Am Legend, also 2007, with Will Smith. Out of the four of them, The Last Man on Earth is by far the most faithful to the original source novel... perhaps because, before he disowned the movie on it’s release, Matheson wrote the rejected Hammer Films screenplay on which this movie was based and is credited under a pseudonym. It has to be said though, that while this is a great little movie... The Omega Man, which throws a lot of the book out the window, is by far the most fun version.

Just in case there’s anyone left in the world who isn’t already familiar with this story, the main character played by Price is a doctor who is the last survivor of humanity (his blood is the vaccine but he hasn’t figured out why yet). By night he barricades himself in against the vampire attacks... and they are proper vampires like in the novel in this version with garlic and crosses and stakes through the heart... and tries to find any human survivors on his ham radio by day and also kills and buries vampires by day. Not realising that a group of vampires who have been working on their own cure all fear him as a monster and that he has become “Legend” to these people.

There’s not much bad that can be said about this version of the movie. Vincent Price provides a voice over narrative during most of the film as he talks to himself in his head. It’s a real tour-de-force for Price and viewers perhaps only familiar with his more “hammy” roles will be surprised to see what a great actor he really was. He really knows how to hold your attention through body language and it’s a pretty challenging role to have to carry most of the film with no large chunks of dialogue.

There’s this moment in it where you think he is going over the top and then... how to explain it... you know Kevin Smith’s Dogma. There’s a scene near the end where Ben Affleck’s fallen angel starts laughing hysterically and then it turns into tears because he is not sure if he is happy or distraught and he’s caught between these two emotions which he’s trying to express simultaneously... the point when you realise, despite contrary opinion, what a great actor Ben Affleck actually is. Well, Vincent Price got there first... he does exactly that kind of thing here... an over the top Doctor Evil laugh which turns into an absolute expression of grief and tragedy. There’s not that many actors who could really pull that off methinks.

Another thing to recommend on this movie is... you know how in those old movies you’d get a montage of the hero and heroine in love with shots of them having a good time superimposed over various places... or a montage in a hard boiled detective movie which shows the detective constantly plodding while various location names float around him... well I’ve been trying to think of another one but I reckon this is the only movie I can come up with that has a hunt and stake vampires montage done in the same tone! Anybody else know where a vampire killing montage has been attempted? I’m sure there must be one... I just can’t think of one.

There is also an almost iconic shot of Price burning bodies in a pit, wearing a gas mask to protect himself from the smoky fumes of the dead.This film really doesn’t pull any punches like a modern movie might in certain scenes. Like the scene where he sees his freshly dead young daughter thrown into that same burning pit from years before.

If you like of sci-fi movies and especially post-apocalyptic movies or just vampire movies in general... The Last Man on Earth is definitely worth at least a look. And now, having done my duty and written this... I can collapse back into bed and try to ignore this horrible virus that’s eating up my body. Thank goodness for spell checkers.

A Site For Score Ears

Film Score Monthly

Welcome to the second in my occasional look at the most valuable resources on the internet. For my previous installment... click here.

Lukas Kendall, the man behind this most precious of resources to musical cinephiles started off his magazine, Film Score Monthly, in the form of xeroxed copies 20 years ago. Over the years, this little newsletter grew in format, scope, sales and reputation into a really great magazine which was a good companion to me on many a train journey home from London over the years. As time wore on and the economic strains of maintaining what was an exceptionally high quality and well written niche product grew too great in the “internet age”, FSM finally folded as a printed magazine (a sad day it was too) and went to an exceptionally inexpensive and highly recommended online version - which you can proudly subscribe to at www.filmscoremonthly.com

If it was just on the strength of the track record of the magazine and the accompanying website (with a very much “alive” online community in the form of its message board), FSM would be remembered fondly as it has found a special place in the hearts of many a soundtrack fan. But Lukas Kendall and the behemoth that was his creation didn’t stop at that. Back in 1996, FSM chanced its arm at releasing limited CD editions of scores that had never had a proper release in the format and they continue to this day with over 200 CDs currently released (many of them are still in print if you want to try and pick up some of these little gems from their website). That first release was released on their “Retrograde” imprint... David Shire’s "12 tone score with a jazz funk edge” to the original movie version of The Taking of Pelham 123. This was followed by John Barry’s score to Deadfall and then in 1996 they had their first release using their own name as the label, Jerry Goldsmith’s score to Stagecoach backed with his music to the TV show The Loner.

After that the releases just kept getting more frequent, with much loved scores getting out to the afficianados and FSM are currently releasing around 24 albums a year. Most of these are limited editions and a lot of them have never seen the light of day before in any format. They are always exquisitely remastered from the finest available materials and more often than not provide the most complete listening experience available from the surviving elements.

Some highlights for me over the years would be Ron Grainer’s The Omega Man, Bernard Herrmann’s On Dangerous Ground, Scott Bradley’s Tom and Jerry and Tex Avery Too, Ennio Morricone’s The Five Man Army and their three disc Shaft Anthology - His Big Score and More, which includes for the first time the actual original film tracks from Isaac Hayes’ Shaft (the best selling album was a rerecording) and also the scores to Shaft’s Big Score and various episodes of the Shaft TV show.

Their website has links to the scores which haven’t sold out and includes some generous sized sound samples for browsing customers. Their message board is where you can find a community which collectively has a very impressive knowledge of the history of films and the music used to score them. True, sometimes individual board members may let themselves get a little over-enthusiastic to the point where their arguments can reach Jerry Springer levels... but this can be entertaining in itself.

Frankly, I believe Film Score Monthly as a magazine, website and especially a music label has done more to help forward the cause of film score appreciation, both in bringing the people who like to listen to these things together in the form of an online community and in restoring and getting classic music out on CD which might not have seen the light of day without FSMs particular business model, than many of the great composers themselves.

A valuable resource for a less recognised sub-section of the music listeners around the world. If you’re still reading, you should go check it out.

www.filmscoremonthly.com