Nick & Nora Charles: Dynamic Duo

From the brilliant minds of Aurora of Once Upon A Screen (@citizenscreen) and AnnMarie of Classic Movie Blog (@ClassicMovieBlog), it's the Dynamic Duos in Classic Film Blogathon. Of all the potential duos available- siblings, rivalries, best pals... my first thought turned to my favorite married couple of classic film, Nick and Nora Charles.

Portrayed flawlessly by William Powell and Myrna Loy, Nick and Nora Charles are fictional characters that came to life on the big screen in six films:

• W.S. Van Dyke's THE THIN MAN (1934)
• W.S. Van Dyke's AFTER THE THIN MAN (1936)
• W.S. Van Dyke's ANOTHER THIN MAN (1939)
• W.S. Van Dyke's SHADOW OF THE THIN MAN (1941)
• Richard Thorpe's THE THIN MAN GOES HOME (1945)
• Edward Buzzell's SONG OF THE THIN MAN (1947)

 But to know Nick and Nora Charles, you must start with Dashiell Hammett. He wrote 'The Thin Man" in 1934- his last of his best-selling novels. The main characters were inspired by his own life and that of his longtime partner, Lillian Hellman. Hammett was an American writer who lived a rather fascinating yet tortured life. He was a veteran from both World Wars, an alcoholic, a left-wing activist, a blacklisted victim from McCarthy's Red Scare (and imprisoned for it), a sufferer of multiple debilitating illnesses, and the best-selling novelist of such celebrated works as "Red Harvest" (1929), "The Dain Curse" (1929), "The Maltese Falcon" (1930), "The Glass Key" (1931), plus countless short story collections. His popular novels were the inspiration of many gangster and noir films of that era and continues to be to this day. But his characters from "Thin Man", Nick and Nora Charles, were plucked from his own days as a private detective in the Pinkerton Detective Agency. Starting at the age of 21, he served as an operative for seven years when he wasn't battling illness (The Spanish Flu and later, tuberculosis) in the War. The novel was an instant sensation not only because of the who-dunnit mystery style but mostly because of the incredibly charming Charles' characters themselves. 

Nick Charles is a retired detective married to Nora, a wealthy socialite. Nick is a smart and confident man who oozes handsome charm. His prior life surrounded him with cops and less savory characters of society- the thieves, gangsters, henchmen and murderers - from when he worked on cases. Because he was so skilled as an intuitive and sharp private dick, both flat-foots and goons alike respected him and genuinely liked him. He was the type of fella that men from all walks of life wanted to be and the ladies wanted to be with. Nora's background prior to becoming Mrs. Charles was a striking contrast. She comes from old money and high-society culture. She equals her husband's charms and beauty in the female form. But there's nothing stuffy about Nora. Her quick wit easily matches and keeps pace with Mr. Charles. And to keep them both down-to-earth, their adorable wire-hair terrier Asta steals every scene possible. 

In all of the six films of "The Thin Man" series, William Powell plays Nick Charles and Myrna Loy plays Nora Charles. Their chemistry is irresistible. When they walk into a room, they're impossible to miss. While Nick is used to swimming in the hard-nosed part of society, he carries himself comfortably while mixing it uptown at black tie dinner parties. Everything about his mannerisms and vocabulary suggests he is just as cultured as Nora but took a detour when he chose his career so he comes across as the perfect blend. Nora is so intrigued by her husband's edgier side that she is usually the driver of nudging her husband to take on new cases, despite his initial resistance. He claims to be retired, after all. With each new case he generally grudgingly takes on or falls into, Nora inserts herself as much as possible to assist in unraveling clues. She's thrilled by the process. Quite a departure from her high-class upbringing. And despite her sometimes witty jabs at the low-brow company he keeps, she loves it all. And does so with the most stunning glamor and graceful presence. She too is the perfect blend of upper class adapting to a street-wise lifestyle.

One of the most appealing aspects of the Charles duo is their deep affection for each other. While the dialogue is hilariously sardonic as they tease each other, it's also with the overt affection of a couple who are truly intimate. There is no doubt this pair wants nothing more than to spend time together. So convincing is their chemistry, Powell and Loy were assumed to be a real married couple outside of their fictional character roles (however, not true.) Another signature Nick and Nora Charles factor to all their movies was their penchant for drinking. There are so many references to their copious imbibing; demonstrating they go well beyond just the occasional social gathering. These folks were far from amateurs in this area. Here are some witty zingers:

THE THIN MAN (1934)
Nora Charles: How many drinks have you had?
Nick Charles: This will make six martinis.
Nora Charles: [to the waiter] All right. Will you bring me five more martinis, Leo? Line them up right here.

or...
THE THIN MAN (1934)
Nora Charles: [suffering with a hang-over] What hit me?
Nick Charles: The last martini.

and then...
AFTER THE THIN MAN (1936)
Nick Charles: Come on, let's get something to eat. I'm thirsty.

plus...
AFTER THE THIN MAN (1936)
Nora Charles: Are you packing?
Nick Charles: Yes dear, I'm putting away this liquor.

or better yet...
THE THIN MAN (1934)
Reporter: Well, can't you tell us anything about the case?
Nick Charles: Yes, it's putting me way behind in my drinking.

As you can see, their witty dialogue, banter and delivery were as dry as their martinis. And it's my opinion, along with quite a few classic movie fans, their first three films stand firmly as the best out of the six. The writing and direction in these first three films really stands out in contrast to the last three as razor sharp and near perfection. All of these films in the series were spin-off film adaptations from the one novel Hammett wrote, 'The Thin Man" because the Charles duo were so incredibly popular. In addition to a great original story by Hammett, I credit excellence in writing and direction in this series, but most certainly for the superb performances by Powell and Loy for the success of this classic film duo. I own the DVD collection of all six 'Thin Man" films and highly recommend to anyone that they watch these treasured classics. For my review of the very first (and some say the best), THE THIN MAN (1934), you can read my thoughts here. And if you want to enjoy a fun mystery parody featuring this classic couple, I suggest a silly movie, Robert Moore's MURDER BY DEATH (1976).         

*For more delightful Dynamic Duos, be sure to check out all the entries in the Dynamic Duos blogathon via Once Upon A Screen and Classic Movie Blog ... enjoy! 
   

                      

Mangai! Spaghetti Westerns

Mangai! Mangai! I'm a big fan of spaghetti westerns and enjoy devouring them whenever possible. While not always filmed in Italy and certainly not a focus on Italian culture, the 'spaghetti western' earned it's namesake for the inexpensively-made westerns filmed mostly across western Europe by mostly Italian directors with a mix of Italian, other European and a few American cultures making up the cast and crew. Typically they were filmed in each of their own native tongues then re-dubbed and distributed in other languages thereafter. While the term "spaghetti western" was originally considered a negative slur, it soon garnered a positive connotation as the genre gained popularity. These films gained popularity in the early 60's and continued over the following decade or two, claiming nearly 600 films.
Of all of these spaghetti westerns certain Italian filmmakers stand at the top of the heap. The 3 Sergios... Sergio Leone, Sergio Corbucci and Sergio Sollima. Sollima, still residing in Italy today at the age of 92, is the Italian filmmaker well-regarded as one of the best of this subgenre. But interestingly, he only made three westerns- and all three were filmed in a 2-year period. THE BIG GUNDOWN (1966) starring spaghetti western staple Lee Van Cleef was a huge success, which quickly spurred on the other two... FACE TO FACE (1967), starring Tomas Milian and Gian Maria Volonte followed lastly by RUN, MAN, RUN! (1968), which starred Milian again. Tomas Milian is a Cuban-born American character actor who was born in Havana and fled to the States after witnessing his father's (a military general) suicide. After odd jobs and a brief stint in the navy, he was trained in the Stanislavskij method at Ella Kazan's Actor's Studio and his acting career blossomed. You may also recognize him in features that continued long after his spaghetti western successes such as Oliver Stone's JFK (1991), Steven Spielberg's AMISTAD (1997) and Stephen Soderbergh's TRAFFIC (2000).

Sergio Corbucci, known as 'the other Sergio', was so-called as he was both a friend and a working colleague alongside Sergio Leone when he transitioned his directing to westerns. Starting in 1963 with MASSACRO AL GRANDE CANYON, Corbucci made a dozen more films of this western flavor until 1974. But it was his fourth western that succeeded well above and beyond the others, DJANGO (1966).  He worked heavily with actors Franco Nero and Tomas Milian. It was the iconic role of Django (played by Franco Nero who was formerly a gas station attendant before landing this role, originally meant for uncredited co-writer Mark Damon) that was so popular it was copied by imitators countless times over. However, only one Corbucci-approved sequel was ever made, Nello Rossati's DJANGO STRIKES AGAIN (1987)- and it was the only other time Nero himself played Django. The Django role was known as the army coat and hat wearing lone outsider who plays rival gangs against each other against a stark and violent landscape. Cult-turned-pop director Quentin Tarantino was so enamored with DJANGO and the spaghetti western style, he made DJANGO UNCHAINED (2012) to showcase a Django character prototype encountering the violent and unjust world of slavery. (For more insight on Tarantino's modern spaghetti western-stylized western, see my take here )

But the most famous director of this Italiano western subgenre is without a doubt, Sergio Leone. Considered the father of the spaghetti western, he was best known for his 'Dollars Trilogy' or 'The Man With No Name Trilogy'...  A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad and the Ugly (1966). Starring Clint Eastwood in all three films, he found himself on a summer hiatus from his TV series and with strict contract restrictions from taking on any American film roles, he took on the legendary role that launched his film career via Italy. Not unlike Django, Eastwood's character is an atypical western hero. More complex, the man with no name's (although also known as "Joe," "Manco," and "Blondie,") character's morality seems to bend and yield at times leaving us uncertain as to his next move when pitted against various villains. Ultimately, he is the good guy. Or at least the best guy in each scene- in a harsh desert infested with bad guys and bandits. Dressed in a similar hat and poncho for each film, his dress would also reflect the Civil War backdrop. And so the struggle of good and evil persevered.

The style that remained consistent for these spaghetti westerns was uniquely edgy. A definitive departure from the predictable American westerns so prolific at that time and had been for decades, this new look was fresh with excessive violence, high style, sharp editing, unexpected characters and innovative musical score. The score was one of the most influential contributors to the signature spaghetti western approach. Italian composer Ennio Morricone scored Leone's Dollars Trilogy films, including the distinctive whistled theme of THE GOOD, THE BAD AND THE UGLY, and Leone's ONCE UPON A TIME IN THE WEST, plus so many more of these Italian westerns including those of Sergio Sollima and Sergio Corbucci.  

The spaghetti western is an acquired taste. I've found that people tend to either love them or hate them. But you can't deny it's enduring influence. If you've never seen a spaghetti western, I highly recommend starting with Leone's trilogy. You'll see why it launched Clint Eastwood's film career from the small screen to the big. Also it illuminates Tarantino's choices in DJANGO UNCHAINED (2012) plus others of his films that show this influence. And if you'd prefer a small serving of this tangy Italian cinematic dish in a humorous and entertaining format, you must check out the animated RANGO (2011). Be sure to look for that 'man with no name.' You'll see his familiar face.          
                                              
->Throughout this month, The Nitrate Diva blog aka @NitrateDiva is hosting the 2013 Italian Film Culture Blogathon. Inspired by her love of Italian film culture (and by a San Pellegrino bottle- no really, see her post, and follow all the other wonderful entries there: nitratediva.wordpress.com/italian-film-culture-blogathon), the @NitrateDiva is showcasing posts celebrating any aspect of Italian culture via film. Although there are a plethora of more obvious choices to bring honor to this splendid genre, my first thought was of my enjoyment of what has been coined the "spaghetti western."

A Night with Maureen O'Hara

Recently, my husband and I drove to the birthplace of John Wayne of Winterset, Iowa. Every year, the entire town holds a big gala to commemorate the Duke's birthday with a 3-day series of special events which takes place the weekend closest to his birthday anniversary (May 26, 1907). I'm not gonna lie, I'm a fan of really good classic westerns. Ergo, I'm a John Wayne fan. But when I discovered this particular year's theme and special guest, we simply HAD to go see... Maureen O'Hara.

THE Maureen O'Hara herself was this year's special guest. When I told my hubby that we could see not only a real classic film movie star for a mere $125 benefit dinner ticket, but the Hollywood legend Maureen O'Hara, there was no hesitation. At the onset I knew with Ms. O'Hara's age of 92, this could likely be my only opportunity to see her as it may very well be one of her final public appearances. But there were many aspects of this Maureen O'Hara themed festival that appealed.

One of the major attractions of this event was the film line-up. The local theater- simply named the Iowa Theater- hosted a daily screening of all five of Maureen O'Hara's films she co-starred with her favorite leading man, John Wayne... John Ford's THE QUIET MAN (1952), Andrew V. McLaglen's MCLINTOCK! (1963), George Sherman's BIG JAKE (1971), John Ford's RIO GRANDE (1950) and John Ford's THE WINGS OF EAGLES (1957). But oh, THE QUIET MAN. Of all of these splendid films showing as part of this grand spectacle, I simply HAD to see this one on the big screen.

You see, THE QUIET MAN was repeatedly shown to me from a wee age in my family as sort of a "how-to" guide of our Irish heritage. For those who have never met me or in case you've been living under a rock, you may not realize that I'm quite proud of my Irish roots. I can claim Irish on both sides of my family (Mom's side- O'Donnells from Donegal and Dad's side- O'Sullivans from Kerry.) It was my grandmother on my Mom's side that started this tradition of watching THE QUIET MAN as I listened to her stories of our Irish family and as she would share photos of our ancestral cottage in the tiny town of Cashleenan in Donegal (see below). With her vibrant red hair, ivory skin, high cheek bones and take-no-malarkey attitude, I soon began to equate my grandmother and our Irish family stories as the embodiment of Maureen O'Hara and THE QUIET MAN.

And while my husband is a mix of English and Finnish, he has been 'aspirational Irish' long before he met me. Early in our courtship, he revealed that he was convinced that I must be a selkie. Unfamiliar with the selkie folklore? It's the Irish myth of the seal that can change into human form once on land. When in human form, the female selkie is a raven-haired, fair-skinned beauty who makes a devoted wife and mother after falling in love with a human. But selkies eventually become restless; longing to return the freedoms of the Irish sea. It's said that their human husbands bury the selkie seal coat and keep it hidden to prevent their selkie wives from returning to their former lives. Romantic and melancholy- very Irish. For a great film on the selkie legend, I recommend John Sayles' THE SECRET OF ROAN INISH (1994). So when I excitedly displayed my restless spirit to my husband because I was itching to go see Maureen O'Hara in Iowa and said there would be Irish music, Irish dancing and undoubtedly some Irish drinking, he was on-board.

Work and kid commitments precluded us from enjoying the entire 3 day stay. But we knew if hit the road bright and early on Saturday morning, we might just make it to THE QUIET MAN screening. We raced across the cloudy prairie highways for the almost 4 hour trip and made a tardy entrance. I was especially thrilled to join our fellow twitter classic film pals as a major perk to this grand adventure... fellow Kansan and #TCMparty co-host Trevor aka @tpjost, Eliz aka @VintageEliz, Summer aka @bucephalus02 and Kaci aka @kacik11. We've enjoyed Trevor's company several times prior for the wonders of silent film that our state offers but this was our first face-to-face with the other fun film-loving twitter pals who also trekked across the Midwest to this quaint Iowan town. I was giddy as we sat in the dark, packed theater; watching Maureen O'Hara's favorite film, directed by her fave director, along with her fave co-star John Wayne and the charming cast of characters like Victor McLaglen, Barry Fitzgerald and Ward Bond.

Afterwards, we met our friends out front and set plans for the evening's big gala. After my husband and I enjoyed lunch (hubby happily gulped down the John Wayne special chili) at an adorable little old-fashioned diner, we got all decked out back at the hotel for the special evening. Wading through a sea of reserved tables, we found our way to an available table way in the back corner. Shortly, everyone in our band of O'Hara groupies was seated and after a scrumptious meal, the program began.

 Upon seeing a glimpse of Maureen O'Hara's entrance, we were absolutely beside ourselves. It didn't matter that she arrived in a wheelchair or that she was a woman in her early 90's, here was a real-life classic film movie star in the very same room- a vibrant and larger-than-life legend. During a live auction segment of the evening to benefit the O'Hara foundation, my fellow gal pal groupies and I sneaked up to the side stage area where we attempted fairly unsuccessfully to take photos of her, as it became increasingly apparent a photo and autograph opportunity would never come. We each boldly smiled and charmed our best with security to get a direct view past through the roped VIP section. After a delightful succession of a few speakers like John Wayne's daughter, a parade of bagpipers, Irish songs, and Irish dancing, we finally got to hear words spoken from our guest herself. She was as beautiful, classy, and sassy with that charismatic humor as ever. She was... thoroughly Irish.

When the program was over, we hurriedly lined-up to catch a closer view as she exited. She was completely generous as she smiled at each of us, even reaching out, touching our hands. Because I was fumbling with my iphone in an attempt to photograph the close-up moment, I got a passing cheerful comment out instead of an actual hand press- and no photo. Eliz and Kaci announced they may never wash their hands. Our responses were misty-eyed and stunned.

The best way to end the evening? At an Irish pub, of course. Our star-struck caravan drove over to a local Irish pub, appropriately named Little Dublin. With live Irish music playing in the background, the cozy wood-paneled tiny pub was the perfect setting for imbibing while recounting the evening's magical moments with friends. At one point I set my Guinness down long enough to teach the techniques of a basic Irish jig, as we see John Wayne's daughter Aissa squeeze past us. Later my husband and I shared stories of how we met and fell in love (Gawd, how does anyone tolerate us?!) then Kaci points out Maureen O'Hara's grandson Conor, just a few feet away. What a memorable night! 

Indeed, it was an experience we shall never forget. And just so I could have a souvenir to take home in addition to my cherished memories, my sweet husband secretly bid on and won a beautiful brooch from the Maureen O'Hara collection in the silent auction and set it in front of me before the end of the program. What a lucky Irish gal I am...           

HIS GIRL FRIDAY

The following post is an entry to the Howard Hawks Blogathon, hosted by twitter pal and movie blogging wonder Ratnakar Sadasyula aka @ScorpiusMaximus of the http://seetimaar.wordpress.com site. No matter what your favorite film genre is, Howard Hawks aims to please. Director/Producer/Screenwriter Hawks covered a multitude of film genres with stunning success. From westerns, action thrillers, crime dramas, screwball comedies and even a musical, he made over 45 films from 1926 to 1970. While his work was obviously prolific, it was the outstanding quality of his work that is most memorable. One in particular stands out for me... Howard Hawks' HIS GIRL FRIDAY (1940).

From the very beginning of this film, HIS GIRL FRIDAY (1940) sets a tone of fast-paced dialogue and non-stop screwball hilarity. We are introduced to our main characters- newspaper editor, Walter Burns (portrayed dashingly by my all-time favorite leading man, Cary Grant) and his ex-wife and former top newshound, Hildy Johnson (portrayed brilliantly by leading lady Rosalind Russell.) The fun begins when Hildy shows up at Walter's office to inform him of her new engagement to Bruce Baldwin (portrayed perfectly by Ralph Bellamy.) The banter between Hildy and Walter is so rapid-fire and razor sharp that you almost miss some lines, if you don't pay close attention because of laughing between zingers. 

It's also in this early scene where we see the heated dynamics of this relationship ignite. Walter shows off his energetic charm and wit while pitching verbal lobs with Hildy. And Hildy doesn't miss a beat, keeping pace with Walter with every clever quip, "Walter, you're wonderful. In a loathsome sort of way." After repeated attempts, Hildy finally grabs his attention by showing her engagement ring and you see him pause pensively for the first time. You can practically see the wheels turning in his head as he ponders his next move. He knows he must entrap Hildy long enough that she can smell the intoxicating scent of reporting... so she'll be back in his life again.   




After Walter cons his way into joining Hildy and Bruce for lunch, it's obvious that Hildy and Walter are cut from the exact same cloth and it's Bruce that sticks out in the threesome as the odd man out. But Hildy will be difficult to sway as she explains her desire for a simpler life. A life that a simple man like Bruce assuredly will bring with all the 'comforts of traditional gender roles'. Or so she tries to convince herself. 

From here, the roller coaster ride speeds along. Walter hooks her into staying longer by giving her the scoop on an exciting story of a feeble man wanted for murder and facing the death penalty. She agrees to cover the story with an edgy angle that only Hildy can pen; but only if Walter keeps his word to buy a big life insurance policy from her fiance. (Yes, OF COURSE Bruce is an insurance salesman.) Meanwhile, Walter works every corner with every trick up his sleeve to ensure Hildy sticks around. Once she gets back into the non-stop pace of the wise-cracking and hard-nosed press room, she absolutely shines as 'just one of the boys', but SO much better. 

There are endless reasons why I adore HIS GIRL FRIDAY (1940). From a visual perspective, the fashions on Russell and Grant are impeccable and the cinematic style is beautifully film noir wrapped up in a screwball comedy- marking a transition into the early 40's. Every role is matched perfectly by outstanding performances- from Cary Grant to Rosalind Russell to Ralph Bellamy and every character actor. But the chemistry between Grant and Russell is unparalleled. The snappy dialogue is delivered at a pace that became legendary. 



But what I really love is the example Rosalind Russell's character as Hildy set for women, especially in 1940. Hildy showed that women can be as feminine as they are talented, tough, sharp and bright... and on equal footing as a man. She also shared the journey of a female torn between 2 choices- taking a traditional gender role with society pressure or ultimately choosing the best role for her, a career woman able to display all of her talents as a reporter in a man's world. Highly progressive and feminist for 73 years ago. Kudos to Howard Hawks for pulling together a perfect gem of a film. Happy 117th birthday, Mr. Hawks. 

The Omen

People love to be scared. Whether it's riding a plummeting roller coaster or watching a horror flick, the business of raising the adrenaline continues to be a serious money-maker. While my stomach cannot handle the flip-flops of amusement parks as in my youth, I have always enjoyed the fright of watching a truly suspenseful thriller. As a kid, I went through a phase of being obsessed with Edgar Allan Poe, Alfred Hitchcock and old vampire movies. What a goofy morbid tween I must have been. But when "My Love of Old Hollywood" and "Wide Screen World" announced the TERRORTHON! Blogathon with the premise of the earliest movie memory that truly frightened you, I knew my choice immediately... Richard Donner's THE OMEN (1976).

In the small southwestern town of Taos, NM where I spent many years in my youth, the projectionist of the only movie theater in town was a close family friend. So when my Mom was busy working, my little sister and I would sometimes convince our friend to sneak us in for a free show. THE OMEN was released June 25th, 1976. I was nine years old. My little sister was six. And there we found ourselves; just the two of us sitting in the cool air-conditioned dark theater on a warm afternoon in the bicentennial summer with our hands tightly gripping our faces as we peered through the tiny spaces between our fingers.

THE OMEN is a horror film about the rise of the Anti-Christ. Unlike so many films that have attempted to take on this subject matter, THE OMEN stood apart in its innovative approach to building up the story with a 'sense of authenticity on the absurd'. There was an intentional effort by director Richard Donner in partnering with screenwriter David Seltzer to create a sense of realism about Satan and the Bible by avoiding stereotypical supernatural images. Instead, the plot develops gradually in everyday moments that make both the main characters and the audience initially doubt if tragedies and oddities were simply accidental, coincidental or truly sinister.

Our haunting story starts with an American diplomat to Great Britain, Robert Thorn (portrayed by Gregory Peck) and his wife Katherine (portrayed by Lee Remick), stationed in Italy. Katherine gives birth to a stillborn and soon after her husband is approached by a priest offering a healthy newborn whose mother just died. Without his wife's knowledge of this substitution, Mr. Thorn agrees to this secret exchange; replacing his dead son with this new baby and they return to Britain. Years go by for this prosperous family who seemingly have the perfect life. Then life presents strange turn of events. At their son Damien's (portrayed by Harvey Stephens) 5th birthday party, his nanny inexplicably announces from a high point of their grand house "Look at me, Damien. It's all for you!" and promptly hangs herself in front of the entire horrified party with an emotionless response from Damien.

The strange events soon intensify when a new nanny (portrayed by Billie Whitelaw) unexpectedly shows up and later surprises the family with a very protective pet Rottweiler. A local priest, Father Brennan, (portrayed by Patrick Troughton) appears at Robert Thorn's office with mysterious warnings of his son's origins. As he attempts to alert Thorn that Damien is not only evil but isn't even human, he is thrown out by security. But the priest is persistent and makes contact again. Meanwhile, Katherine Thorn discovers to her disappointment and to Robert's delight that she's pregnant. She wants to terminate the pregnancy and expresses her growing discomfort around Damien. Damien swiftly delivers her wish in an eery scene when he rides his tricycle straight into the chair she's standing on, sending her over a railing. Barely hanging on to the edge, she looks to Damien pleading for help as he stares coldly and void of any concern. She loses grip and drops to the floor below, causing a miscarriage.

But the creepiness really ramps up when photographer Keith Jennings (portrayed by David Warner) notices strange yet consistent marks in his photos of Father Brennan, along with the former nanny. The strange marks turn out to be an 'omen' to the nanny's hanging and Father Brennan's bizarre 'spearing' death, the result of a freak lightening storm just as Father Brennan rushes to seek shelter of a church. After discovering marks in his own photographs, Jennings fears his own demise and joins Thorn's quest for answers across Italy and Israel. After a long string of horrifying discoveries and daunting obstacles, it is only after the forewarned deaths of Father Brennan, Jennings and his wife Katherine, does Thorn finally accept the belief that his son is indeed the Anti-Christ.

While Thorn is further convinced of Damien's true identity upon witnessing the birthmark of the devil -three sixes- hidden by the course black hair on his scalp (young Stephens was naturally blond yet his hair was dyed black to give a more menacing look), he ultimately still struggles with conflicting task of killing the child he raised as his own son. Just as he raises the dagger to murder Damien, the boy cries out for his "daddy" to stop, the police have arrived by now and shoot Thorn dead. In the end, due to Thorn's high political ranking and personal friendship with the President of the United States, we see Damien attending his father's funeral in the personal care of the President. The Anti-Christ has successfully attained the next level of ultimate power and smiles knowingly into the camera.      

As someone who was raised Catholic, I can assure you this film completely freaked me out. There's something very powerful about religion's suspense of belief. That is what is at the very core of this film. But it also preys upon the very notion of basic psychology, too. In this film, you find yourself along for the journey in Thorn's shoes and despite all the bizarre occurrences surrounding him, we understand how it would seem at first like coincidental tragedies. After all, there are no overt symbols of supernatural like a man in a red satin suit with horns and a pitchfork. Yet when he becomes gradually convinced of the unthinkable concept of his own child being the actual devil himself, he dares not fully believe it nor admit it openly for that would undoubtedly mean that this intelligent man of reason has slipped into madness.

What I found to be additionally fascinating about this film is the legend that the film itself is considered to be cursed. For all the bizarre tragedies in this film, it's been told that there was another parallel string of freakish accidents behind the scenes. On the very first day of the shoot, many key members of the crew survived a car crash. The Rottweilers attacked their own trainers. While both screenwriter David Seltzer and lead Gregory Peck flew to the U.K., each of their planes were struck by lightning. While in Rome, producer Harvey Bernard barely escaped being struck by lightning himself. Directer Richard Donner's hotel was bombed by the IRA during his stay. And at one point Gregory Peck canceled a flight to Israel to later discover that chartered flight crashed, leaving no survivors.

Despite these accidents behind the scenes, this film went on to become very popular and lucrative at the box office; making it the highest-paid role of Peck's film career. He wisely took the gamble of an extremely low salary- a mere $250,000, in order to be guaranteed 10% of the box office... which added up to over $60 million just here in the states plus international release. His gamble paid off nicely. Donner insisted working with high caliber talents of then-retired cinemaphotographer Gilbert Taylor and composer Jerry Goldsmith (he convinced head of 20th Century Fox, Alan Ladd Jr. to pony up $25,000 to hire Goldsmith.) Goldsmith went on win the Academy Award for Music Score, including the haunting theme song "Ave Satani" which significantly elevates the film's fear-factor. THE OMEN was his only Oscar win, although he was nominated 17 times over the span of his impressive career.

Do I truly believe in the existence of an Anti-Christ and that this film was actually cursed? No. But it's those little seeds of doubt, that suspension of belief that piques the curiousity and raises the adrenaline if only while sitting in the dark, with your hands tensely gripping your face. After watching THE OMEN that first time and as little girl who was born in 1966 (although NOT in June, nor on the 6th day, or even at the 6am/pm hour), I went home and carefully examined my scalp through my raven locks, looking for any triple-six birthmarks. You know... just in case.